[Danny Thompson]

First thing i usually do is make a curves layer clipped to a specific layer, play around with it until the edge is even, and then feather the seam.

After that I’d probably start making some texture plates in monochrome, blend them in and use them to cover up the transitions and smooth out the texture below.

[Danny Thompson]

The offset filter is the key to making repeating patterns by hand.

Build the center of the pattern, then use the offset filter with values that are 50% of the canvas dimensions. Then proceed to fill out the center again. Repeat with different configurations until you’ve covered up all the visible seams and gaps.

[Danny Thompson]

Based on what eric has done and what seems possible, I’d recommend this for your project:

-split it up into 23.976 and everything into three media managed piles: 30, 24 and 24-over-60, other rates
-remove all the pulldowns and relink in your 24 timeline
-lift everything not 24 into another track, conform timeline to 30p
-produce frame-blended ProRes proxy versions of all the 30/25/other rates.
-relink to these in the 24
-grade in the 24 session with clients or straight through (so all the footage is there in proxy form)
-get approval
-export 30p and 24p timelines, have davinci handle scaling and cropping
-apply pulldown to all 24, relink in 30 timeline
-use frameflex style conversion on all 30 for the 24.

looks like the worst part was your promising a 24 version…

[Danny Thompson]

Eric… had I been thinking a little more resourcefully at the time I probably would have done this. This seems like it must be the only way one is able to put the pulldown application at the end of the process chain. Since it seems like nobody has ever really had much success doing mixed rates in DaVinci I will just go with your method. Thanks!

[Danny Thompson]

I feel your pain Joseph.

[Danny Thompson]

How so? Separate folders/bins? Separate timelines that get merged together in DaVinci?

I need something more to go on… I’m not surprised at how sparse the documentation in this area is though…

[Danny Thompson]

Glad to help out. No money gigs for your friends are a great way to get started learning color correction and grading. If you want to use LUTs though you have to do a basic “primary” color adjustment that makes it neutral and have even contrast.

DaVinci has many many tools for color correction that can do this, and most are explained very well in the Color Controls section of the manual. Its curves are OK in big mode, the color wheels are still king. Auto Color works pretty well to make a primary sometimes too.

[Danny Thompson]

Almost all of the Instagram looks can be accomplished in the Primaries tab by lifting black and lowering white, then pushing the highs and shadows in opposite directions.

The hue-vs-saturation and luminance-vs-saturation curves are another good place to play around. A lot of those filters heavily desaturate the highlights before the hue is applied.

The vignettes can be accomplished by adding another node with a circular power window with softness all the way up, set as an outside window, and lowering mid/black.

Good luck and I hope the client is happy with the work that they have requested!

[Danny Thompson]

I’m doing more TV work lately and am finding that in an ideal workflow the framerate conversion for 23.976 to 59.94i occurs after picture finishing. I want to be able mix 29.97p and 23.976p so that pulldown can occur after resolve scales it.

[Danny Thompson]

Haha, yes, actually saying what gear it is always helps…

Card is a Decklink Extreme HD, Resolve 8, and I am using RS422 control and SDI for video IO.

When I put bars up on the KiPro I get video in. I can’t get it to detect it otherwise. I turn off the bars before starting to record. Once I start recording, Resolve doesn’t actually output anything over SDI (I’m monitoring it two different ways, I’m sure).