Chris Martin
Forum Replies Created
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Unless RED is capturing HDR (which has it’s own downsides), it is not capturing as much latitude in the hilights as Alexa.
You can twirl every knob and hit every button in Resolve but you can’t create additional hilight range. I sometimes take the easy out and make a soft luma key and add a slight promist to it but it gets very 80’s video pretty quickly.
The folks at Arri, being rooted in film, strove to make a digital cinema camera that responded like film. RED has some great qualities of it’s own. but holding hilights is not at the top of the list.
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Remapping – do you mean animated speed changes?
If so, one option would be to strip off the speed changes in your AAF or EDL from Adobe to Resolve and grade from the R3D files in Resolve. Then render out to your preferred quicktime or file sequence flavor with source meta data and finish / reapply speed changes in Adobe.
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My guess is that your distortion is due to fitting or cropping your image relative your timeline resolution. These are both defined in your settings.
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Sam,
Last project we did we actually used Resolve for final ouput. After conforming to source files we then exported select sources clips out of Resolve ungraded as dpx frames with 48 frame handles and preserving source meta data 1:1 speed. We then executed speed fx in AE and then dropped back in on Resolve as a top layer and pasted on color grade. I’m sure there’s a tipping point where too many shots with speed fx may warrant another option but this worked for us. -
Adhish,
Yes when you import an xml make sure use resizing option is checked when prompted. In the color process you can choose to use or not use the xml resize info by right clicking.
The one issue you may have is if the 720 proxies were used in a 1080 FCP timeline. If the editor was dropping 720 into a 1080 sequence and then scaling up 150% then you’ll have to go into PTZR and zoom back out 50% to compensate. If all the repos in FCP reference 720 source in 720 canvas then you will not have to worry about this.
Chris
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Adhish,
You can work off the full res R3D files in Resolve Lite. Your limited to renderring out at 1080 but since that’s your deliverable format you’re all good. That keeps everything in Resolve and much simpler workflow.
The FCP XML will carry over the animated repos for you. On multi-format prjects like this, we work with editors to spend some extra time prepping a final sequence where they use layers to define the format. Example: V1 for RED, V2 for Canon, etc.
We don’t usually finish back in FCP so don’t have mush advice on the roundtripping back with an xml. I’d test it out, especially if there are multi frame rates or speed f x.
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Did you conform in Resolve or liad a preconformed file?
If you conformed in Resolve have you checked your master session for grades?
If you preconformed how did you build your color list? EDL? Scene detect? If you opted for preconform workflow using edl then all your grades will be local.
Paerhaps you called up an older session?
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What is the LUT for?
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Using versions is a bit more house keeping but gives you way more options within a grading session.
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Great idea!