Dan Moran
Forum Replies Created
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I think this should help 🙂
My tutorial covers how to add camera shake but should apply to weave too.
https://www.mixinglight.com/001-R9-ShakeyCamera-DM.html
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
Sounds like your using single clip mode. Try individual source clips mode.
Arri also have a great whitepaper about transcoding with resolve on their site.
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
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Hey Nuno
Thats how its always been. Even in version 8.
You should use the versions tool instead of memories when you’ve tracked something
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
I think its a Linux only feature also. It uses Infiniband instead of ethernet too.
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
We remote grade all the time and its fine. I only ever set the red settings to RedLog Film and leave the rest of the settings as the DOP dialed them in. Send the client the project and go from there works well.
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
Hey Joe!
Your dam right, I assumed all people grading will be on a calibrated 709 monitor rather than just a 709 uncalibrated monitor. So thanks for clearing that up.
I’ve stopped using LUTs for all cameras now and choose to use the lovely contrast and pivot tool for most of my camera recording color space to something that make me and my scopes happy.
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
As long as you are happy with the picture on the screen then don’t worry about anything else, thats my motto!
You can go much deeper into this subject but in a nutshell your monitor is set to 709 so as long as when your finished grading you are happy with this then your all good.
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
Hey Thibaut,
I’m afraid it doesn’t work and won’t until Red give BMD the SDK and they have time to implement it. I sent them a sample file from our first monochrome job and I’m sure they’ll do their best to implement it ASAP.
I’d recommend wrangling to 2.5k DPX files with handles for your job, its what we did.
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog -
Depends what you mean by topend. If you mean literally the topend I’ve seen a z820 do about 42 nodes of blur with 4 gpus put the same gpu’s in a macpro and your going to get a similar result.
Resolve in my mind always comes down to the GPU power needed.
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Dan Moran
Colourist
Smoke & Mirrors: London
http://www.danmorancolor.com/blog