Chris Hall
Forum Replies Created
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Maybe I’m misunderstanding the question so correct me if I’m wrong, but I think what you want to do is actually fairly simple:
1) For your project settings set the Red Camera settings to “Decode Using – Camera Metadata”
2) The select all red clips in the media pool and right click on one to select “Edit Red Codec Settings”
3) In the red settings dialogue box change “Decode Using” to “Clip” and then change “Gamma Curve” to Redlogfilm”
4) After doing that click the left most button on the lower right of the dialogue box to “apply changes to all selected clips”
5) This will only change the gamma curve to redlogfilm in all selected clips and keep the camera metadata for color temp, sat, tint, etc.Would that do what you need? (I pretty much do this on every red project and it works like a charm)
Chris Hall
Colorist – Prehistoric Digital
Santa Monica, CA -
thanks, sounds great, will definitely take it for a spin.
Chris Hall
Colorist – Prehistoric Digital
Santa Monica, CA -
Can it preserve the directory structure of the source files? This would be REALLY useful for relinking later on.
Chris Hall
Colorist – Prehistoric Digital
Santa Monica, CA -
yeah the lack of .r3d metadata has killed me in the past before w/colortrace. What I’ve done is used the still store to copy and paste the old grades to the new project (which brings over .r3d settings when you do this), and then colortrace on top of that. The process is annoying and does take a bit but it will do what you want. It’s best to use local grades for this process in the project you’re copying too as well so you don’t overwrite previous linked clips etc.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
I used these provided by evangelos angelides, and they worked very well:
https://www.eaprogramming.com/downloads/download_main.htm
ran the stills for 100 hours cycling through each one for about 5 seconds.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
+1 here for this feature. Would save an extra leg of encoding to be able to dial this in on the delivery page. On a side note, we recently just had a client ask for a 4K MP4/H264 deliverable for Sony’s new online 4K streaming service. Alas we couldn’t deliver it due to the 60Mbps bit rate it called for (compressor 4 can’t even encode an H264/MP4 at that bitrate, and after a bit of looking around I couldn’t find much else that could currently). For the future H264 and eventually H265 will be a common deliverable, and it would be great if Resolve could generate these with plenty of options to boot.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
4th it.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
+1, here here
Chris Hall
Colorist – Basher Films
Pasadena, CA -
yep, cinegrain is pretty great. If you want a cheaper solution then rgrain also makes some very decent stuff for 1080p finishes only. Also look into downloading the RGB stills directly from Nuke’s website and making your own grain based on the actual stocks. I’ve done it a number of times now and have gotten good results for VFX matches etc.
Chris Hall
Colorist – Basher Films
Pasadena, CA -
alas, there is no “broadcast safe” setting in resolve. do a quick search of the forums for this and you’ll see. While DaVinci’s “video levels” will not allow illegal luma levels (ie anything above 100ire on a waveform), it does not clamp down on color gamut excursions (ie, illegal chroma levels). I too have worked with highly saturated concert footage amongst other things and found that the only true way to make these “out of gamut” errors legal, is to run the program through a a legalizer (harris is good), or painstakingly make hand altered adjustments to the offending shots to legalize them within resolve (which is a better way to do it of course, but for long form programming… not very efficient.).
Chris Hall
Colorist – Basher Films
Pasadena, CA