Daniel Christie
Forum Replies Created
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Hi David,
Thanks for the reply. I’m running CS6. Unfortunately at this stage I can’t justify the ongoing expense of CC. The introductory upgrade pricing is almost feasible but only good for a year.
To be honest, I was a little surprised to find that CS6 didn’t re link based on TC. I’m guessing it is working internally by absolute frame number.
Cheers,
Daniel
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Scratch that, the double node thing isn’t working. Also, I am able to change colour temperature for CinemaDNG but not R3D while using ACES. Also, all my clips go really really dark in the media and conform views in Resolve when using ACES. Makes A/Bing kind of difficult, amongst other things.
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I’m having the same issue here, both visual and on the software scopes. Creating a second node for curves seems to resolve the issue, however I am also experiencing horrendous banding and artifacts in the shadows when I am using ACES colour science.
I’m using Red Epic with the red IDT and Rec.709 ODT (I have tried the others as well).
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Okay, problem resolved, sort of, by setting HD-SD anamorphic down conversion in the decklink control panel and setting output from Resolve to 1080/50i. All scaling correctly now.
The only problem I have with this is that processing previews at 1080 for SD monitoring slows down the playback frame rate quite unnecessarily. It also doesn’t explain the discrepancies between scaling in the conform view and not scaling in the Color view.
Oh, and sorry for the stream of posts!
Daniel
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And bizarrely, although selection of PAL and PAL 16:9 in video monitoring has no effect in Media or Conform, in Color selecting PAL 16:9 causes the image to be vertically stretched (yes, vertically stretched not horizontally squashed) even though no scaling occurs in Color (my original problem).
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Thanks for the reply Peter,
I have tested with both 4K R3D and 1080×1920 Quicktimes, 1080 projects.
Timeline format is 1920×1080 square. Output set to match timeline, input scaling and output scaling are ‘scale full frame with crop’, though I have tried other options as well. Setting output scaling to PAL corrects the external display, but the anamorphic squeeze is not corrected in the UI. Additionally, playback framerate is lower (I’m guessing that the Intensity card is handling the scaling when output is set to 1920×1080 and the GPU is when it is set to PAL). Changing scaling options in the Blackmagic control panel doesn’t affect anything in Resolve or any other software.
I have also installed the latest Resolve and Decklink drivers.
Cheers,
Daniel
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Aditionally, I can’t output anamorphic 16:9, only 4:3 letterbox. Doesn’t matter whether I select PAL or PAL 16:9.
Resolve 9 Lite beta
Cheers
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Thanks for the replies. It would be nice to see a RAM preview type option in a future version. I guess a similar effect could be achieved by caching to a fast SSD. I recall being in grading sessions using Base Light where the colourist had to use something like a ram preview as the nodes stacked up or maybe he was caching to disk.
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Hi Felix,
Wind back the screen balance a little for a start (to, say, 80). Then tweak the white and black clip levels until you are keying only the mat. Also play with the despil and alpha bias (take the eye droppers and select the black robe). Head over to the Foundry’s website and download the keylight manual for a pretty good explanation of what these settings do.
Hope that gives you some guidance.
Daniel
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It may seem obvious, but do make sure you have motion blur switched on to create the illusion of fluidity in the action, if you haven’t already. I’ve had similar graphics work come into production houses before that the producers complained weren’t smooth and it ws just a matter of adding some motion blur.