When you are assigned to run the complete process of secure media backups and creation of proxy clips (dailies) for a movie shoot on set, it can be very well possible that you face a pretty heavy workload. To stay on top of the game it is important that you can rely on a tool set that gives you the possibility to execute your work in time.
In case you are thinking about starting live grading as part of your on-set service, and you are not sure about the necessary hardware that is needed around Livegrade – this might be your article. We will lay out typical hardware configurations from a very simple setup with just one camera and a notebook up to a full DIT cart with multiple monitors, LUT boxes, and video routing.
The Silverstack Cloud is here! And with it a lot of exciting new features to talk about. Since Pomfort released the Silverstack Cloud Beta last week, many Silverstack users have signed up for the cloud to test it out properly. In the meantime we’ve already received decent feedback on its functionalities along with some specific questions. Therefore, we decided to collect all the input that has been provided by our beta users so far, and set up a FAQ-like blog article to answer the most pressing questions here.
HDE encoding for ARRIRAW clips is a new technology that has been introduced just recently, and we received quite a few questions concerning the data management of such clips. Those questions concern the overall workflow, the general understanding how to properly handle HDE .ARX sequences in a secure backup process, and how this is covered in our software products for data management.
In this article we want to give you an overview of all the ways to customize Livegrade Pro and Livegrade Studio to the needs of your specific hardware setup as well as to the requirements of the production.
The setup on a film set does not need to become very complex before a video router becomes a helpful addition to the DIT cart. Typical monitors have not more than two inputs, so simply switching between two cameras and an additional reference image to be displayed on that one monitor means plugging video cables.
This article highlights how Livegrade Pro’s and Livegrade Studio’s implementation of the ASC-CDL standard impacts your work. We’ll revisit the details about the parameters and filter formula specified by ASC-CDL, discuss the different interaction types in the software, and show an example for setting up the color grading in multiple nodes.
Are you new to Silverstack Lab and curious to learn more about getting started with the software? The following article will give you a comprehensive overview of video tutorials that outline everything that’s helpful to know when starting to work with Silverstack Lab.
To convert digital film footage, every transcoding software requires two overall components: The source clips themselves, and some kind of “instructions” as to what should be created from the source clips during transcoding. In Silverstack Lab we call these instructions transcoding configurations.
One purpose of transcoding in Silverstack Lab is the creation of viewing dailies from the camera originals. It’s common practice to upload those dailies clips to a web platform that makes them easily available for everybody necessary. ARRI Webgate cloud services is such a dailies platform. Silverstack Lab now integrates with ARRI Webgate and makes it possible to view clips and metadata directly on the dailies platform.