Chris Martin
Forum Replies Created
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I second Jake’s take on this. It seems frivolous with regards to node management. Once you’ve established an outside window you cannot make changes to a power window’s parameters. I hate that I have to jump back a node to change say the window’s softness.
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We’ve had one of the soft knobs go down so all parameters mapped to it do not work. Not been able to fix the problem thus far and assuming it’s hardware related.
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How are you QC’ing your graded 4444 Quicktimes? Remember you graded to 709 which is yuv and you rendered out rgb quicktimes. You can’t use QuickTime viewer as a reliable judge. Have you tried bringing in graded quicktimes back into Resolve and compare to stills? You can also try making proros HQ which are yuv.
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In EDL Manager you can export your EDLs as FIle 32 (or File 16) and it should give you the entire R3D file name as it is not limited to 8 characters. So much better! EVen for Final Cut Pro projects I’ve been using Automatic Duck to make an AAF and then bring into EDL Manager to make a FIle 32 format to locate select media even if we are using an XML or AAF for conform.
And yes 10 shots as DPX sequence easy to overcut!
Cheers, Chris
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Initial thoughts based on this one production…
1. The Good – very good at pulling HSL keys from the Canon Raw because it is uncompressed. Picture was resolved nice and sharp while still maintaining a cinematic feel, something RED does not always get without a good DP.
2. The Not So Good – the latitude in the highlights does not stretch like the Alexa. To that end it is much more like working with RED material. Nothing seems to be able to roll off the hilights quite like Arri I guess. I was happy with the range I had everywhere else.
One other operational note was that if working with a modest Resolve system you cannot lower your de-bayer setting a la R3D’s for color grading. It’s more like working with DPX frames only without the ability to make proxies. I wound up conforming the Canon Raw 4K in Resolve and then exporting HD DPX frames that I then re-conformed in another session to color grade to get batter playback. When done I opened the Canon Raw conform session and used gallery to paste the grade from HD DPX session to. This was fine for a 2 minute piece but not so fine if it was longer…
Chris
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It does read 3840×2160 in canon raw utility. If this is on Codex wonder what’s going on. There’s also weird things going on in random frames where the bottom 10 pixels have the previous frame recorded….
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Yes indeed! Hopefully BM is on top of this…
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Thanks Eric this did solve the problem. Very odd bug indeed. I update my default config so that anti-alias set to off instead of auto to avoid future situations like this.
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You can use Resolve to transcode dpx frames to any number of formats, most likely QuickTime flavor such as prores HQ for final but or a flavor of mxf for Avid.
Just make sure you preserve all clip meta data that matches your source dpx frames. Then you can use an edl, aaf, or XML from you NLE to conform from dpx.
Or you can just use adobe premiere and cut with your dpx frames and not worry about transcoding.
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1. Right click on timeline in conform and select create timeline with handles
2. Define head and tail handles
3.extend tracks and key frames through handles
4. Use this timeline to export
This is only way to export with handles without having tracks and key frames pop on and off