David Baud
Forum Replies Created
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[Peter Menchini] “As I’m editing, everything looks great. But the output is the problem. If I output standard Vimeo 4K, it looks pretty bad. if I output standard, Vimeo 1080p, it looks great.”
I am guessing you are talking about “Vimeo 4K” and “Vimeo 1080” Blackmagic presets?
In order to troubleshoot, you’ll have to look at the specific of these presets for your application.[Peter Menchini] “Please look at the screenshot in the link. On the left is the 1080p output, which is great. On the right is the 4K output – not so great. What do you think the problem is?”
I looked at your screen grab and to me the problem is with your compression settings for the 4K video… but like Tero said, we will need more information from you in order to tell you for sure what we think the problem is.
Good luck,
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
[Alan Langdon] “I know I should get an external device like the Blackmagic Design Ultrastudio Mini Monitor, and perhaps a eGPU to speed up graphics. But for now I am learning Da Vinci and would like to believe I can do mid-range jobs and not have large surprises upon rendering. Am I mistaken?”
Yes… if you want to be able to judge any proper color correction, you need to have a proper workflow in place. I believe your first mistake is to consider that your FCPX workflow will be similar in Resolve. These are two different applications, made by two different manufacturers. Without getting into too much details, Apple has more control over the video signal between FCPX and the mac hardware, than Blackmagic does.
If you’d like to work in Resolve, I would recommend you follow Balakmagic configuration hardware. You can download DaVinci_Resolve_15_Configuration_Guide.pdf from their website. I believe Resolve cannot work accurately with your Mac’s internal GPU. You need an external hardware in order to control your video signal all the way to your external reference monitor.
In summary in order to judge the quality of your video signal, one part of your workflow is to make sure your hardware and software meet the requirements of the manufacturer.
Good luck,
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
I am curious, which camera gives you 3200 x 1800 frame size file?
Regarding workflow, in general you are better off sticking to frame size standard (HD, 2K, 4K, etc…) because of compatibility issues with software and hardware.
For your delivery master files, depending on your medium target (broadcast, DCP, Youtube, etc…), you might be better off using common file standard and using cropping to achieve your desired frame aspect ratio.In Resolve, I usually conform in the edit page using the Movie inspector panel to fill accordingly my frame.
I use the Output blanking from the Timeline menu to define the aspect ratio (letterbox settings)If you don’t want to upscale any footage, make sure you define your Project setting, under Master setting accordingly to your maximum frame resolution. In Resolve you can always override these settings when creating your master in the delivery page, except it might affects any transformation you might apply on your shots.
Hope this help,
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
They are 2-main flavors for making a DCP:
. Interop
. SMPTE. Interop only accepts 24p master
. SMPTE accepts both frame rates, 23.976fps & 24fpsInterop will be more compatible with older digital projector/server system, whereas SMPTE is the newer DCI standard for DCP.
If you still decide to go with DCP Interop, because the speed difference between 23.976 and 24fps is not that great, I would first run a test: create a new 24fps timeline and drop in it your 23.976fps film. Watch it and listen to it and see if the sound quality is acceptable to you.
If not then I would use an audio software to speed up the sound of your film to match 24fps to compensate for the pitch changes.David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Depending on the footage you are working with, I would add normalization for log in general. Also I would switch 1 & 2: I usually try to get “a normal look” before getting to “the look”.
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Nope… I am just saying keeping your master as pristine as you can… I just mentioned 4K in the case your post-production workflow was all 4K… if you are working in HD, keep everything in HD… with the least compression and transcoding as possible so that you can create deliverables as needed when you know the requirements of your final medium… for my 25+ years in the business, I have delivered shows to the USA, western European countries (including France, UK, Germany, Switzerland, Italy, Belgium…), Russia, Asia (including South Korea and China) for those I can remember ????
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
As you may already know, Europe is a big country!????
Which country are you talking about? Also are you delivering to a particular network? Each of them have some specifics they want you to follow (file format, codec, etc…)
If you don’t have the information yet, I would recommend to create a master in the most common format of the countries your targeting so that you can later create deliverable without sacrificing quality… full 4K, 25fps, progressive, ProRes, DNxHD for example…
Hope this help… a little
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Nope. You will have to output two new files in any cases. That means new encoding.
I would assume that your H.264 files is more compressed than your ProRes file (they are many flavors of H.264, so it is hard to know without looking at your file). This is why I said you are better off working from your most pristine quality file and recreate from that your 2 new files, one to ProRes, the other to H.264. I do not see the point to have the same cuts done on 2-different file formats, if your content is exactly the same!
If you output from your H.264 file to H.264 again, you are going to loose some information… I would assume you are concerned about the quality of your video?????
To answer your question, you could change the overall resolution of your project from the general settings with a few caveats. But it seems in your case the easiest way would be to change your resolution in the Delivery page. For more detail explanation, please look into DaVinci Resolve manual which is a must have for reference.
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
In any cases you will have to output 2 different versions… right? Why can’t you work from the ProRes version only, make your changes and output to 2 file formats from that master? what am I missing? in the deliver page you can change the resolution output of your master timeline…
Best
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
In Premiere CC 2018, if you have ingested proxy files associated with your original files, any time you export or render from your sequence, Premiere Pro will use the original file… so if you used the Premiere Pro feature you should be good to go… again in CC 2018… I don’t know when this feature was introduced…
Otherwise, you could always manually reconnect your media to your original files and then do your export… just make your proxy files offline and reconnect with your original files…
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com