Dating devil com
The bottom line is, the musician expects a certain result when manipulating the instrument in a familiar way, and if that result is not forthcoming, there’s not enough math in the world to change that musician’s mind.Which brings up a point I’m actually more interested in discussing.I tried every combination of color management settings FCP X allows, and while the contrast response differed, it was still wonky and not at all “standard” to the way I’d expect these controls to work.Then, I finally stumbled upon the magic combination of settings. Given all the screwing around with the Color Management settings required to force a clip to grade correctly with these controls, clearly the math that governs these controls is being handled incorrectly relative the Color Management settings, so I believe Simon’s assessment is generally correct.As I mentioned on Twitter when chatting about some of this, most grading software I’ve used varies slightly in how the tonal ranges affected by Lift, Gamma, and Gain are defined.
Long story short, using my own gradient file, I found reproducing Simon’s results difficult to do.
It’s not really a big deal, but I always have the supernatural fear of extra steps introducing the potential for extra problems.
I know, too much of a life spent in post has made me paranoid.
In this way, you can make structured adjustments and not have to worry that a change you’ve made to the gamma is going to cause radical changes to the shadows and highlights levels you’ve just set.
Now, in practice, there’s usually a small bit of interactivity, but it shouldn’t be that noticeable.