[Danny Thompson]

If you edit an H264 and export it as H264 again there will be a drop in quality.

H264 is a highly compressed format, and though it is possible to concatenate multiple video streams together into one file, I don’t think Premiere is capable of it.

Studio – eMac G4, 256mb ram, Final Cut DV
Mobile – IBM R50, 1024mb ram, 80gb Hitachi Travelstar ATA133 7200rpm hard drive

[Danny Thompson]

Worked, thanks!

Studio – eMac G4, 256mb ram, Final Cut DV
Mobile – IBM R50, 1024mb ram, 80gb Hitachi Travelstar ATA133 7200rpm hard drive

[Danny Thompson]

The “four points” are critical, but each is open to some interpretation and has a degree of flexibility, and I haven’t even made the reel yet, so whether or not it’s Fair Use yet is hazy.

My understanding is that these things are decided case-to-case by the courts, and the likelihood of a case over someone’s reel ever getting within a mile of court house is zero.

But I am not a lawyer, just like yall.

Studio – eMac G4, 256mb ram, Final Cut DV
Mobile – IBM R50, 1024mb ram, 80gb Hitachi Travelstar ATA133 7200rpm hard drive

[Danny Thompson]

My strategy, more or less. A lot of my work is up on youtube etc already.

Studio – eMac G4, 256mb ram, Final Cut DV
Mobile – IBM R50, 1024mb ram, 80gb Hitachi Travelstar ATA133 7200rpm hard drive

[Danny Thompson]

Great, this solves it. Thank you.

Studio – eMac G4, 256mb ram, Final Cut DV
Mobile – IBM R50, 1024mb ram, 80gb Hitachi Travelstar ATA133 7200rpm hard drive

[Danny Thompson]

Well this Keyboard Maestro program blows me away. One step closer to making my stuff deployable. Thanks!

Studio – eMac G4, 256mb ram, Final Cut DV
Mobile – IBM R50, 1024mb ram, 80gb Hitachi Travelstar ATA133 7200rpm hard drive

[Danny Thompson]

I guessed that Mel’s response would be the case, the interface is pretty unique.

I use ControllerMate and Max/MSP to do mouse stuff via the keyboard. By detecting what room I am in in Resolve I can toggle the shortcuts automatically so they don’t mess with Resolve when I don’t want them to. Through this I’ve managed to map out all primaries and secondaries stuff, color curves and keying features into keyboard shortcuts ala Scratch. I press a key and it goes to that UI item and clicks down the mouse, then I just drag to adjust. I’ve put my avid panel away for good and have graded about 10 projects using a keyboard and mouse.

Give ControllerMate a try. By programming mouse clicks and delaying the time between them you can automate any UI stuff in Resolve.

Studio – eMac G4, 256mb ram, Final Cut DV
Mobile – IBM R50, 1024mb ram, 80gb Hitachi Travelstar ATA133 7200rpm hard drive

[Danny Thompson]

HELL
YEA

Though I still can’t really use it unless FCP7 roundtrip works fully again… did they ever get it working right in 10?

Studio – eMac G4, 256mb ram, Final Cut DV
Mobile – IBM R50, 1024mb ram, 80gb Hitachi Travelstar ATA133 7200rpm hard drive

[Danny Thompson]

Glenn, your answer doesn’t really cover what Ernest is asking, he’s trying to find ways to keep his matte and adjustment separate.

Making your mattes come in from other nodes is best practice when you have grades with multiple mattes. Making an outside node then inverting the input key of the outside node is one way. But for big complicated grades it’s easier if you have the mattes come in from independent nodes.

https://i.imgur.com/Gfzo1Dr.png

In this graph the mattes come from the lower left and go out to everything else that needs them. They don’t have grades on them and their output image doesn’t connect to anything, just the mattes. I can pipe the mattes into all the other nodes that will need them. My process to get a graph like this started is:

1. select first node, shift-s to make a node before it
2. opt-K to append a node
3. pipe the matte from the new first node to the last node, move the first node lower and out of the way
4. invert the input key on the last node
5. delete the image connection between first and second nodes. connect second node to the input.

After that I can shift-s new nodes at the head of the chain in the mattes, create new nodes etc without breaking the node graph. I can add keyframes to anything without messing up the relationship between the grade and the matte. And everything becomes more reusable.

This kind of workflow is critical when you have qualifiers that have really tight tolerances, since any changes earlier in the chain can mess it up. It also makes it much easier to see what is being matted and where those mattes are ending up.

View post on imgur.com

[Danny Thompson]

Better yet use the “difference” composite mode to compare them. makes finding slippage problems much easier.