Yes, I have used Shake and am currently in the process of learning it for the pro cert test. I love the way the Color correction node works or color x node. That's actually where I got the idea that I just described above, you must use Shake too.Originally Posted by samsc
You could do it with 9 more DMX channels and it would be easy to understand if explained right. 255 levels on the color channels are fine enough for me. Like I said, post or preprod in this case, is where i would usually do this but it would be pretty handy to be able to do this from within Catalyst. It would really help with drab images or overexposed DV. The alternative for me is to find the file drop it onto a firwire drive or usb key, edit it in AE or Shake, and then put it back into all my machines. Most of the gigs I do are at the very least 4 machines and I also program the lighting along with the video so this proccess of correcting files is a real time consumming one and means going to my room instead of the bar after the day is finally done. Danny has been a big help, though some shows we just cant afford another crew member.
If I were granted one color function, it would be one that would enable alpha channel actions with either travel mattes and separate fill files or premultiplied video with an alpha chnl(millions +) so that I could accept all of this logo and overlay stuff that is so frequently used in TV. I just got a call from the tech director of MTV for a Hamish Hamilton, Dunn and Dusted production inquiring about using catalyst for this (trackmatte and separate fill file in HD). I turned the gig down. Not because catalyst couldn't do the trackmatte stuff, I was just too tired.
I am right on the cusp of driving this technology to direct live/live broadcast (not via screens or projector but direct to air) that it would really help to have this function.
Any suggestions?
CC
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