Dmitry Kitsov
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COW Coins
2
DaVinci Coins
Forum Replies Created
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I can confirm bizzare behavior with Dnxhd files in premiere pro cs 5.5 on windows. They look purple or blue. Same files opened in cs6 look and work fine. It does not seem to be a resolve issue though. DNxHD files made by other apps suffer the same fate in cs5.5.
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I am afraid I am not using the GoPro camera. GoPro now owns Cineform and all of the consecutive since last year releases of Cineform Codecs and software are released under the GoPro logo/brand. There by definition cannot be a different “flavour” of Cineform, as it is a codec that is APId, SDKd, and licensed by one entity – Cineform/GoPro. It is not a container. All of the Cineform encoded files must behave in a similar fashion within the Cineform/GoPro apps/pipelines.
What I am experiencing is clearly a bug I just do not know whose side it is on – FSMAHM knows – Cineform platform is very buggy – CF or Resolve. Knowing, that I have no issues with changing the metadata layer of CF files that come out of other apps or from the proprietary converter HDLink.
As I have mentioned I am using HDLink with FirstLight/Cineform Studio Premium, so obviously it was not free.
As a usual practice one is able to make changes to the Cineform files within the FirstLight/GoPro Studio Premium. Changes like Color balance, gamma/gain/lift input/output curves/ LUTs, etc. I am not able to do any of those with the Cineform.mov files made by Resolve 9
Hoping to get a confirmation from other people using similar workflow pipeline. -
Operator error, please read the manual.
Works as supposed to work -
If you have adobe solutions use Bridge to rename multiple files. Then use any text editor and it’s search and replace function to edit an XML to replace é with e.
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2 SAS channel raid 6
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Is this a new convention that when all are selected there is no orange/brown bar?
Does it mean that all are selected for render by default? -
Tracker is independent of the key frames so you can use both of them at the same time. A general strategy is to track first and then use key frames to animate the window shape that tracker gave you. For certain cases you might want to use track interpolation in the tracker interface itself when you need to only tweak the motion and not the shape (p415 of manual)
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No sir, I did not work on a big one. The OP of course is talking about a Tangent panel. I was comparing my experiences with Tangent and two different pieces of software with two different approaches.
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I see. Perhaps there is no issue at all but rather the resilve making the assumption (with your current resolve scaling settings) that the footage that is unscaled should be simply conformed to the timeline at its full aperture. My understanding is that resolve is not pixel dependent while premiere is. The issue is not a technical one but an implementation of the workflow philosophy.
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Wouldn’t you want to use whatever makes your grade looks good and the way you want it to look?
Your question is a little bit like the questions I would get from the photography and film students: what is a good exposure when I shoot outside? What is a good contrast filter for this negative? Answer of course is – the correct exposure is the one you want to use, so is the filter. You want to use the one that gives you the best contrast for the negative at hand and for the image you want to produce. There are no magic secret settings. There is no secret sauce.