Brendan Dillon
Forum Replies Created
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Yes I have been using this a bit. I have found that the best way to get a sequence across is to make it as simple as possible. For a start Resolve only wants one video track so in avid sub off just V1. Also remove all effects. Or I now add edits on V2 wherever there is an effect on V1 and move the effect up to V2 that way when I bring the grade in from resolve it can slot it in underneath and the effect (eg resize) will now effect the graded version.
I have also found that checking ‘AAF Edit Protocol’ on the avid export helps. I export an AAF choosing to ‘Consolidate Media’ to the same folder as the AAF. In resolve I add all those clips to the media pool and then import the AAF.
So yes this does work but you need to try to keep things nice and simple.
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I think iPhone will become the standard config for smaller ‘indie’ filmmakers while the large post houses will have fully optioned iPads and be able to offer higher resolutions and more nodes in realtime.
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I was wondering the same thing. Damn BMD are so slow to qualify older systems. Apparently when it is certified it will only be the model with 124MB of RAM. If you have the 64MB model you’ll have to add the RAM upgrade to the $900 as well! Also it will only support analogue video signals and real-time will only be of use on black and white jobs.
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Looks like its a codec thing. I’ve been trying to get Avid mxf files to work but they are always clipped. I have now managed to get the colour bars from Avid to Resolve using ProRes422 and it all works perfectly – ‘super blacks’ included – just need to use ‘Unscaled Full Range’ in Resolve and export from Avid as rec709 with no gamma correction. I was very happy to get this working but would love to get the mxf workflow happening.
Another problem I have is with Uncompressed 8 or 10bit quicktime files from avid – there is some very strange hue/gamma shift happening when that gets into Resolve – I’ll test some more – still not sure if its an Avid or Resolve issue. I’m also interested in the DNxHD workflow. I might try to get the update this week.
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Yes tried that – it just seems to scale the clipped levels from 64-940 to 0-123.
I am testing now using SMPTE colour bars. When I look at the Avid output everything is fine on the scopes and I have the bar of ‘super black’ near the bottom right of screen. When I take the test signal into resolve everything lines up however the ‘super black’ bar has been clipped or legalised to black.
Lifting the blacks does not reveal the ‘super black’ bar – it has been clipped off, meaning that any detail that is below 64 or above 940 (super blacks or super whites) is clipped and lost before grading starts.
Choosing ‘Unscaled Full Range’ pushes the white to 1023 and black to 0 meaning any super white or super black is still lost and colour bars now sit at the incorrect level.
Is it possible to import SMTE colour bars and retain the bar of ‘super black’? If this can’t be done it would prove that Resolve is clipping footage (losing detail) before grading even begins.