Attn BM: business model proposal for new features

[Darin Wooldridge]

I would rather have one track and not deal with the mess sent over by the editors.

Leaving the online to a real conform tool and the editors.. I’m not an editor but find myself doing a lot of editorial tasks.. When forced to deal with editorial tasks, i charge more..
Huge amount of time spent sorting everything out when left uncleaned.
Or, I get the offline editor to prep the time line per my request. I do it all the time, and it never seems to be an issue.

Now that being said, if black magic give us the feature, I will use it. But I don’t feel its a deal breaker.

NOTE: The comments above are strictly mine, and may not necessarily
represent those of my employers.

Darin Wooldridge
Colorist / Technical Strategist
818-653-3918-cell
dwooldridge@mac.com
check me out at https://www.facebook.com/pages/Davinci-Resolve-Colorist/117363011609028?ref=….

[Blase Theodore]

Darin,

I’m guessing you haven’t yet had to deal with multiple overlapping dissolves (and the resulting headache). But what happens when you do? Would you turn away the job?

With longform stuff, the edits can typically be collapsed to just one track, and I’m happy to do that. But with shortform stuff, the editing can get pretty “fancy”, and collapsing is often not an option.

Lustre, Quantel, Scratch (very soon), Baselight, Filmmaster, even Color have multi-timelines.

But this thread isn’t even about that. Its about how we can advance the package in a way that accounts for a diversity of needs. I suggested a way in which my needed feature could be fulfilled without bottle-necking your needed feature. I’d love to hear other ways which address product growth itself, rather than specific feature requests or their relevance.

Believe me, I’m thrilled with what Resolve brings at this price point. Its insane what they’ve offered. But I don’t think BM is trying to replace Apple Color, when they have the DNA to replace the entire market.

[Rick Turners]

The mess of the editors? If the timeline can handle multi layers/speed ramps/dissolves as Apple Color can there is no headache. You just send the xml, grade, export xml. No need do any prep at all…
This would be nice in any package..

On the headache note, on a particular show here we are given a 30 minute timeline, solid QT, with dissolves and all the other things built into it. We chop it up, grade. When we run into a dissolve we key frame grades from one shot to the other. In Color we could paste one grade onto one key frame, paste the next shots grade on the following shot. Is this possible in Resolve (It’s not the manual)

Is there a better way to handle this workflow? (bearing in mind an EDL with handles is not an option?)

All that said, I’m overall enjoying the grading experience much more in Resolve. 🙂

[Gabriele Turchi]

Darin:
You underestimate the power of the flame premium suite (flame +lustre )(or even flame by itself …
Any flame artis can handle
Color grading no problem…
And I feel that the market is going towards that direction skipping the color grading room If we can’t even show the composite edit for review …

g

[Blase Theodore]

[Rick Turners] “In Color we could paste one grade onto one key frame, paste the next shots grade on the following shot. Is this possible in Resolve (It’s not the manual)”
Rick, yes, this is exactly how its done in Resolve. And since Resolve was originally designed to work this way, the keyframing is actually very powerful.

The specific example that got referenced was a native media timeline (i.e. RED, Phantom, Alexa) with multiple dissolves. In those situations, you can’t render and keyframe a single quicktime, and thus there is no good solution.

[Illya Laney]

Blase Theodore
“When a client delivers a 5 layer timeline of R3D material with 3 layers of interweaving dissolves and a 12 hour deadline, I need a tool that can actually do the job.”

How long is the sequence? 12 hours is more than enough time to finish a music video, spot, or title sequence this way. The method depends on the NLE but it’s all basically the same.

Clean up the timeline > Media Manage/Consolidate > Create client approved best light on managed footage > Relink footage in NLE > Export for final color and scene detect > Grade in context > lay off to tape or finish or whatever the client wants.

The best light should be mild enough to still give you room to play for final color. A 3:1 time ratio for the best light footage and the speed Resolve gives you with a RED Rocket more than makes up for the benefit of having multiple tracks.

twitter.com/illyalaney

[Gabriele Turchi]

illya,
seems you don’t have clients coming in to supervise the session that want to see the images composited (i mean the multy layer of dissolves ) together to judge …
and when we talk “big clients ”
i can’t say : ops i need 1 hour in FCP now …

when client pay big money , they pretend to see , if resolve can’t… they’ll choose a flame artist …

i just finished an Armani job …it was layer dissolving together for a good 70% of the commercial … i graded separate elements “guessing “how the composite would be …not safe at all for big job ….resolve is great for straight cut edit , many other prof color app already deal with mutilayer timeline need ….

g

[Illya Laney]

It should only take you a couple minutes to media manage and relink in FCP. All the VFX and multilayer effects are approved in the NLE or compositing application we’re working with.

I never said I didn’t want multi-layer timelines. I like SpeedGrade, but I prefer the look, control, and speed Resolve has. I’m not impatient or afraid of Flame artists so I’m fine waiting for Blackmagic to add new features.

twitter.com/illyalaney

[Robin Erard]

Personally, it’s not a question of time to reorganize the multilayer timeline… I have got time, I work for shorts and features with low budget (then producers don’t force me to be in hurry). But it’s a question of narration, it’s not very enjoyable not to be able to see the chronology of the final result. With 2 or 3 mutlilayers I would be able to grade with a total vision of the project.

Robin (who speaks french)

réalisateur, scénariste, monteur
http://www.robinerard.ch

[Gabriele Turchi]

that’s exactly it as robin said ,
it’s about us and the client being able to see the multilayer situation going on to be able to take better color grading decision ..

and in my case my clients pretend that …otherwise someone else will grade in on a FLAME (where they can see it together ….)

g