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Compositing workflow and multiple footage formats
Hello Davinci peeps,
I have a couple questions regarding workflow on a job whic hhas some vfx composited in. I am fairly new to Davinci and coming from Apple Color so there are some big differences obviously so hopefully you guys can clarify some things for me?!
1) Multiple Formats – the majority of this short was shot on the RED, but there are a couple of B cam shots or FX shots which came from the 5D and the HVX. Most of the shots are 2K cinemascope and I am being told they will want to make everything 2K to match. So coming from Color I would have asked the editor or vfx sup ideally, to make everything exactly the same format so that Color could deal with it – but now that I am using Resolve I am curious how it will handle all the different formats if the goal is to render out 2K? Any info on workflow suggestions would be a great!
2) Composited shots – The director is asking me about workflow for the vfx guy who has composited into some shots different elements – I am honestly new to this type of grading work and I do know that there is the ability to use layers / or composite modes in Davinci. I was asked whether I should be getting the shots without elements added in from vfx or with – I said without because its after my grade I assume that the compositor will want to comp vfx elements in properly accounting for light, color, etc. I was also asked if I wanted to elements themselves to comp in in Resolve – off hand I said no because the tools of AE, Nuke, etc are much better for this type of work. Any thoughts on this?
Cheers
Andrew -
4 Replies
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– Multiple formats = No clue, sorry.
– VFX compositting = you’re going to love Resolve’s ability to import as many Mattes as you want.
But the best would be you don’t have to use it:I would grade the BG, hand it to the VFX guys so they won’t comp on raw footage. And they are professional, they should adapt the VFX elements to match the BG! It’s their job, not yours.
But they must do it with the proper image. Compositting with raw footage is very commonly done but much trickier.You can then do minor tweaks using mattes (ask for them to VFX) within Resolve, but trying to comp with it is going back 15 years: no lightspill, edge control and alpha controls as in a real VFX software, I’d forget about it.
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Hey Guillem!
Thank you for the reply it helps a lot and confirms what I suggested to the director – that I pass off graded plates for the vfx guy to comp material back into! It seems I might just get those shots already comped with material so we’ll see how that goes i guess but I will recommend your suggestions for workflow.
cheers
a -
Compositting is very often done on raw film scans. Once VFXed they grade it.
I never agreed, slight inconsistencies show up after grading while they looked fine on the raw scan.That’s even worst when it comes to R3D!!!
So many ways to “develop” them…
And that’s a job for DPs and color timers, not them.Last week we got shots from Nukelooking Nasty. Standard “RedGamma” + “Redcine” settings in Nuke (they can’t use the 2 version so far) delivered a picture with the black at ard. 20% and the wite roughly at 40%, with dirty magenta highlights, a mess.
(Solution: work “Linear”, as Nuke does internally, but that’s another post.)Hand them a nice picture they can work with, my 2 cents.
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Really great info here thank you so much! I would be curious to hear your thoughts on the linear pipeline with grading apps, nuke, flame, maya etc – is that open-exr, aces, or something different with workflow?
I listened to this and some other talk from fxguide peeps but got a little lost 🙂
https://www.fxguide.com/featured/the-art-of-digital-color/
thank you
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