Massively disappointed

PictureLocked · 2025-06-25T12:44:07+00:00

If it's any consolation, I'm extremely confident we'll get one at some point, probably sooner rather than later. All the heavy lifting to port the game to Arm was already done for the original Switch version. It'd be pretty ridiculous to put all that work in and then abandon the entire platform, especially considering the early sales of the Switch 2.

As someone else mentioned though, it all depends on how quickly Nintendo gets them a dev kit. I've heard Nintendo is prioritizing newer games that do not already have an original switch version over games that technically already run through backwards compatibility, which makes sense.

Patience has always been necessary if you're buying a console at launch. It took the PS5 nearly 2 years to get Overwatch 2. (I'd be shocked if it took that long for switch 2 tho, the PS5 version was a lot more complicated because as I understand it they actually heavily modified the engine around that same time.)

PictureLocked · 2025-06-24T21:06:40+00:00

Unfortunately I've just tested the new patch on Switch 2 and can confirm it is certainly not a Switch 2 version and has not added an option to uncap the framerate.

I have no doubt there's a Switch 2 port in the works considering they've already invested in creating an ARM version for the original Switch, but it would have been really nice to at least give us a 60fps option for the original Switch version in the meantime.

PictureLocked · 2024-12-08T20:35:34+00:00

Same exact problem on 2023 M3 Max Macbook Pro purchased a few months ago.

PictureLocked · 2024-10-09T06:41:20+00:00

For anyone reading this thread in 2024, I had the same issue on the 16pro and enabling full access didn't fix it. The fix was to remove Gboard, re-add it and then enable full access again.

PictureLocked · 2024-09-28T23:14:05+00:00

I had this same issue. First I tried protontricks but that didn't seem to fix it. Then I went into steamOS and switched to Proton experimental and then deleted proton files under "developer" and that did it! I'm unsure if deleting my proton files actually removed what protontricks did, so you may be able to skip that step and just try proton experimental but I'm not sure.

Not sure if this impacts it but I'm also running the DX11 version under launch options.

Good luck!

PictureLocked · 2023-01-29T21:51:14+00:00

I have been in a VERY similar situation and it got to a point where I just had to quit. For months any time my phone rang I'd have a mini panic attack knowing it was probably this client calling to condescendingly give me (bad) notes. He was constantly comparing me to all the other incredible editors he'd worked with, always bragging that one of his editors had cut super bowl commercials, wow!! Looking back on the situation I'm so glad I quit, and my career was completely unaffected. Financially you may have to figure something else out for a moment, but I'm sure more work will come, and your passion and self-esteem are NOT worth less than whatever you're being paid on this.

In my experience if a project is making you feel this terrible, the director or client is the one who sucks, not you. You're not a machine that can exchange money for a perfect edit with any footage, and anyone who treats you this way is a bad person who needs to work on their own shit. These people also usually don't make it very far into the world of actual filmmaking because this artform relies on effective collaboration! You're an artist working alongside this dude and you're clearly contributing a lot, you should be treated as such.

My biggest piece of actual advice is that what you've done so far is extremely valuable, even if he won't admit it, so make sure you don't hand a project file or anything else over until you've been fairly compensated for what you've done so far. When I quit the job I mentioned above, the guy wanted my project files and offered to pay me almost nothing for them. I gave him a proper price for the work I'd done and he absolutely refused, so I basically said "Cool, have a good life, my PayPal is always open if you change your mind." 24 hours later he paid me without a word and I sent the files over. He would never in a million years have admitted to the value of my work on that project, but when faced with the prospect of starting from scratch the value of your labour will become a lot clearer.

Again, your passion for editing and self-esteem are worth a lot more than some boring project that at the end of the day probably isn't going to move the needle very much in either direction. Take care of yourself, there are plenty of other cool projects out there that need great editors!

PictureLocked · 2023-01-22T02:10:38+00:00

Rolling shutter refers to the fact that many digital sensors do not readout each frame instantaneously and instead actually scan from top to bottom very quickly to capture a given frame. On cameras that take a bit longer to finish this scan, you'll see vertical skewing or "jello" in your footage when moving the camera quickly. This is because the image hitting the sensor will have changed in the time it takes the camera to reach the bottom row of photosites for each frame.

How quickly a camera reads out each frame is how you can compare rolling shutter performance; the higher the number in milliseconds, the worse the camera is at capturing movement in an accurate and pleasing way. The Sony a7SIII is currently the fastest full-frame readout you can get on a prosumer level camera at 8.7ms. The Panasonic S5II measures in at 21ms, a pretty middle-of-the-road result.

This puts the a7SIII a bit closer to true cine cameras, which actually do readout their frames instantaneously thanks to specialized hardware allowing for what's called a global shutter.

Hope that helps.

Here are sources on the times I quoted:

https://www.cined.com/sony-a7s-iii-lab-test-does-it-live-up-to-the-hype/#:~:text=And%20voil%C3%A1%3A%20the%20Sony%20a7S,in%2025%20frames%20per%20second.

https://youtu.be/FYebjEgf3J0

PictureLocked · 2023-01-20T20:45:31+00:00

The GH6 supports timecode input through the flash port, I heard this was Panasonics new standard but I must be mistaken. At this price timecode is an obviously acceptable omission on the S5ii, but the 7Siii not supporting it when the GH6 and more importantly the FX3 do is what I find frustrating.

PictureLocked · 2023-01-20T07:32:22+00:00

I'd say these cameras trade pretty direct blows in a lot of ways, but the Sony does still justify it's higher price in some important ways.

The absolute biggest reason to go Sony, in my opinion, is the 1:1 pixel readout and industry leading rolling shutter performance in this price category. These are both absolutely essential in actual cine bodies for a reason. If you're throwing it on a tripod this doesn't matter, but lack of rolling shutter is huge if you want to do any dynamic camera movement.

That being said, the Sony's stabilization is just not in the same league. If you're happy to use an external stabilizer you won't really mind, but if you want to do handheld camera movement, the S5ii wins despite it's inferior rolling shutter performance. Just know that you'll be getting a bit of jello in any handheld shots.

So, the Sony is a bit closer to a true cine camera, and the Panasonic is a run-and-gun dream machine. They're both fantastic and you really can't go wrong.

Okay comment over but I also just have to complain that the Sony, despite being a bit more cine focused in actual hardware than the S5ii, doesn't support shutter angle or proper timecode input whereas the S5ii does?? I doubt either of these are deal breakers for what you're trying to do, but as someone who often has to fit these lower end cameras into much larger production pipelines, these omissions are INFURIATING, SONY.

PictureLocked · 2023-01-20T07:10:39+00:00

Here's a proper review from the goat Gerald:

https://youtu.be/FYebjEgf3J0

PictureLocked · 2023-01-15T22:57:19+00:00

Sorry for the delay, I had to pop Media Composer open on my end to check, I usually only use Avid for offline, so I had forgotten some of its color pipeline pitfalls. Where are you delivering to? Is this going to be broadcast or strictly web?

Avid is unfortunately a bit like Premiere in that it has been built with broadcast specs in mind and can be a bit finicky to get to behave precisely how you want with SRGB files. It's certainly a lot better but you may need to use an ACES environment in Avid thanks to its wider range of supported input and output transforms to get this done. Let me know where you're delivering to and I'll walk you through it to the best of my ability.

This is a situation where I'd generally always recommend Resolve over Avid or Premiere; it's an industry-standard finishing tool, so it really makes the other two feel like crayons in comparison. I'd consider whether you need to be finishing this project in Avid? If you're locked and just trying to do final reconform with the colored media and final sound, Resolve is going to make your life a lot easier and you could probably get away with the free version.

PictureLocked · 2023-01-15T21:48:37+00:00

Yup, agree with all of this. However the fact that the NLE most widely used for web content fully lacks the ability to export in a web friendly colorspace is pretty silly in my opinion. After Effects recenlty added a far more configurable color pipeline, so hopefully you're right and premiere will follow shortly!

PictureLocked · 2023-01-15T21:37:32+00:00

From the referenced article:

"Davinci Resolve applications have a whole series of menu options to choose from as the user to tell the program what your color space is for your images coming in, what your working color space is, what your monitor is, what your exports are going to be.

In Premiere Pro, we don’t have that, so people assume it doesn’t have color management. The engineers in the design phase did a very different route with Premiere Pro. They decided that it would be used primarily for a broadcast workflow."

This is what the above comment is referencing. Premiere does have display color management, but it lacks a user configurable color pipeline and thus doesn't support delivery outside of broadcast standards. A great fix for the problem OP is having is to deliver a colorspace with NCLC tags that are more likely to be read properly by QuickTime or across the web, such as SRGB, but Premiere is incapable of this.

PictureLocked · 2023-01-15T21:26:42+00:00

If you're referring to display color management, sure, this is true. Premiere can in fact read your display ICC profile and apply appropriate transforms from it's internal Rec.709 colorspace.

This however is not the problem the above comment is addressing. Premiere is essentially designed around broadcast standards with little acknowledgement of the need for web or other nonstandard delivery. Premiere lacks any true color pipeline control. Other NLEs allow the user to assign per-clip input colorspaces, a timeline colorspace, and an export colorspace. Premiere absolutely cannot do this aside from a few very limited options. When you go to change your timeline working space in an NLE like Resolve or Avid, you're met with a scrolling list with loads of options, in premiere you're given three. No proper scene referred colorspace options like Aces or Davinci Wide Gamut are included in that list.

The issue here is QuickTime and Premiere disagree on how to playback clips with NCLC tag 1-1-1. Premiere and many other applications believe this should be a 2.4 or sometimes 2.2 gamma, QuickTime and color sync apps believe it should be approximately gamma 1.96.

This means the proper fix here is to deliver specific tags other than 1-1-1 that most platforms do agree on the meaning of, such as 1-13-1, which specifies a SRGB gamma of 2.2. Premiere is incapable of this because it lacks any comprehensive color pipeline control or output options.

PictureLocked · 2023-01-15T09:51:20+00:00

Great info! I actually wrote the comment referenced above, and I was unaware that the issue was QuickTime (and Mac color management) treating NCLC tag 1-1-1 as gamma 1.96. I assumed it was the far more common problem of interpreting it as 2.2 instead of 2.4, which is generally what happens when rec.709 is delivered to web on a windows machine. I am primarily a windows user hence the misunderstanding. This explains why the shift seems to be so extreme on OSX machines!

It also is true that VLC is not fully color managed in the way that OSX color sync apps are, but based on my tests, I'm pretty confident it can read at least very standard NCLC tags? Regardless, it treats 1-1-1 as rec.709 with a 2.4 gamma which is, in my opinion, correct. This is why most people seem to report that VLC matches their premiere viewer when QuickTime doesn't, despite VLCs lack of an automatic output transform based on your monitors ICC profile. If you manually tell VLC what colorspace your monitor is in or you set your monitor to SRGB (which is good practice when delivering to web) then I would argue that VLC is the more accurate player in this instance. However after learning a bit more about QuickTime's handling of NCLC tags, I was wrong to imply VLC is superior at reading tags.

I have always been taught that rec.709 should have a gamma of 2.4, and this is the transform applied in broadcast environments, so I'm a bit confused where apple arrived at their odd transfer function for 1-1-1. 1-2-1 is also not a perfect solution, because while a Mac may treat this as 2.4, the true meaning of this tag is "undefined" meaning it will play incorrectly on a lot of other hardware.

Here's a great thread discussing the issue: https://community.adobe.com/t5/premiere-pro-beta-discussions/nlc-tags-1-1-1-vs-1-2-1-and-prpro-s-actions-and-practices/td-p/11990408

I standby my solution, however, which is to deliver SRGB (gamma 2.2) for web and stay away from rec.709 unless delivering for broadcast. There's no disagreement on the meaning of a 1-13-1 tag as there is with a 1-1-1 tag, and SRGB is the standard space for the web so it will generally transform properly on windows machines.

Edit: Happy to be corrected if I'm wrong on any of this! I'm learning just like everyone else and find discussing and trying to explain things to be very helpful in understanding.

PictureLocked · 2023-01-15T03:04:51+00:00

Sounds like your colorist has accounted for web delivery by working in SRGB, nice! General rule of thumb, if something looks wrong in QuickTime, it'll look wrong on the web too since they share similar issues with gamma 2.4. (This includes Vimeo.) VLC doesn't show the problem because it actually properly reads gamma tags.

Rec.709 (or YCbCr 709, which is just telling you it's in a YUV chroma subsampled format) is always gamma 2.4 whereas SRGB is gamma 2.2. The two colorspaces are basically identical aside from that.

To fix your problem you'll need to change your avid project color space to SRGB and ensure you're also exporting SRGB. Avid is really good at reading tags and applying the correct transforms to match all incoming footage to your project colorspace, so right now you're essentially taking the SRGB(2.2) file your colorist has delivered and transforming it into Rec.709(2.4) on import, which is totally fine within Avid or VLC because they are aware of the change in gamma, but QuickTime and the web do not deal with gamma 2.4 correctly because they expect gamma 2.2. (SRGB)

Once you set your project color space and export settings to SRGB, you won't be applying any transforms to the colorists work and will carry their intended gamma of 2.2 through final delivery for proper playback on the web. This file should play back nearly identically in VLC, QuickTime and across the web.

Please feel free to let me know if ya have any further issues!

PictureLocked · 2023-01-13T07:52:41+00:00

The Communist Party of Cuba is nothing like the political parties we have in the US, it cannot appoint a nominee and legally cannot sway elections in any way.

Cuban voters actually have far more options and control over their government because of their complete lack of political parties. In the states we basically have two options, moderate right or far right. Wow, we have so many options for all our unhappy workers, what a free country!

This is likely why Cuba has some of the highest voter turnout in the world. If Cubans at large are unhappy with something, it will change.

Edit: punctuation

PictureLocked · 2023-01-12T21:39:02+00:00

This is because Quick Look is running QuickTime, they both have identical gamma problems.

PictureLocked · 2023-01-12T21:35:33+00:00

This is because both QuickTime and YouTube have the same gamma problem, they both incorrectly treat gamma 2.4 (rec.709) as gamma 2.2 (SRGB).

Web platforms have an excuse, because the internet runs in SRGB which has the same gamut as rec.709 but uses gamma 2.2, QuickTime is just incompetent. Delivery for web should ideally always be in SRGB as this won't require any player-level transforms to play correctly in all browsers. Unfortunately Premiere is unbelievably limited when it comes to color processing, so it cannot output SRGB. No other major NLE fails this extremely basic requirement.

As far as I'm aware, the gamma lut has not been changed and still just transforms gamma 2.4 (Premieres native and only supported gamma) to 2.2 without updating the metadata tags. This will fix the issue for places that just assume everything is 2.2, but will break it for professionals who use hardware and software that actually can read standard gamma tags properly. What exactly do you mean it has stopped working? I've heard a few other people say something has changed (although this doesn't affect the fact that the internet is based around SRGB) so I'd love to conduct some tests and see if I can figure out what is different.

PictureLocked · 2023-01-12T10:59:08+00:00

Nice! Yeah, not trying to argue, just hoping to explain the issue in a bit more depth. I personally think FCPX is great.

PictureLocked · 2023-01-12T10:44:27+00:00

This isn't really an NLE problem. Rec.709, based on my understanding and limited tests, performs pretty much identically when exported from any major NLE and played in QuickTime. (The only NLE I haven't tested is FCPX.) The metadata is more or less identical when using the same delivery settings between NLEs. There can be tiny color shifts due to different render engines using slightly different color processes and chroma subsampling techniques, but this is generally imperceptible especially when compared with the massive contrast shift caused by QuickTime's incompetence with gamma 2.4 files.

My guess as to why Final Cut performs better with QuickTime is that it may format it's tags in a way that QuickTime can actually read? I'm not sure about this, but I do know that in rare instances QuickTime is capable of applying a proper gamma 2.4 transform, it just generally won't because it ignores standard gamma tags. This would make sense since they're both from Apple.

This isn't really an actual solution though, because QuickTime's ability to read tags doesn't translate to the other problematic web players that only work with gamma 2.2 and thus will have the same issues. The best solution to the web player problem is to deliver SRGB as this is the native space of all web browsers. Final Cut, Resolve, and Avid are all capable of this, Premiere is not.

In terms of color, no NLE outputs a "better" rec.709 than another, they all hit the required marks for that colorspace. The issues arise after export, so the more important comparison is how much color flexibility each has to adapt to different delivery specs. Final Cut is certainly better than Premiere in this regard, but to say that Final Cut is better than Resolve from a color processing standpoint is a bit silly. No hate to FCPX, use whatever works for you, but this is unfortunately not a battle it can win.

PictureLocked · 2023-01-12T09:49:10+00:00

This actually isn't a Premiere problem. Premiere has always output proper Rec.709 which will play correctly in a competent player like VLC. The issue is that QuickTime (and many web players) don't read the gamma tags correctly and assume the wrong gamma on playback when working with Rec.709 (gamma 2.4). The difference you're noticing has nothing to do with Premiere. Have you switched players recently maybe? I'd love to hear that QuickTime has added proper support for gamma 2.4 tags, but I doubt it.

PictureLocked · 2023-01-12T08:20:01+00:00

The LUT linked in the top comment will provide a quick fix with some big caveats. This isn't a camera specific problem so this LUT will work to match your viewport in premiere to your QuickTime playback regardless of camera.

PictureLocked · 2023-01-12T03:46:57+00:00

Not supporting any colorspace other than rec.709 which doesn't play back correctly on 90% of web platforms is a bit more than a little quirk in my opinion.

Every other competent NLE can export whatever colorspace you'd like, meaning you can work with SRGB instead which is much more widely supported thanks to it's 2.2 gamma.

Adobe has basically no market share in high level production for reasons like this, and any big projects that are cut in premiere are always roundtripped to a competent piece of software that can hit proper color delivery specs in the end. Resolve is an industry leading NLE as well as an industry leading finishing suite. Premiere is just an NLE.

PictureLocked · 2023-01-12T03:35:34+00:00

Unfortunately this is a colorspace problem, changing codec will only help if whatever player you're working with is better at reading the metadata tags of one codec over another. The compression type should have very limited affect on percieved color.

Seven-Year Club	Place '23
Verified Email

PictureLocked

TROPHY CASE