Glenn Sakatch
46
Avid Coins
85
COW Coins
36
DaVinci Coins
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Premiere Pro Coins
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Solve Coins
Forum Replies Created
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I think if you “X” to mark the clip, the in/out duration is displayed above the monitor….isn’t it?
Glenn
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I think that would drive me crazy…stopping at an issue, having the playhead jump back 20 mins in time, and then having to go look for the clip I wanted to stop on.
Its actually one of the things about Resolve that drives me crazy…you have to continually deselect the clip you last selected, or the timeline keeps jumping to it when you do certain functions…drives me crazy…I stopped here for a reason.
If you want, I suppose you could add an inpoint when you hit play, hit stop, goto in…or loop playback the section you want to look at, and hit stop when the loop starts again.
Glenn
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that is another story altogether ☺
I’ll try some tests with a homemade vignette and see what happens.
Glenn
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I would either
A: work in a 4096 space in Fusion, and during your node process, spit the clips into their two 1920 sizes, work on them, and recombine them into the 4096 for render.
B: open the clips in a standalone version of Fusion, make your two 1920×1080 effect shots, and bring those into Resolve as new sources.
C: set your timeline in Resolve to 1920, put your top and bottom clips next to each other instead of on top of each other, and create a Fusion clip with those two clips. In Fusion do what you want to do to each clip and create a new saver for each one then bring those back into Resolve as source clips.
Personally I would just use B: Fusion connect can be handy, but sometimes its nice to just have a clean fusion comp on hand for tweaks and adjustments without having to go through the Resolve timeline.
Glenn
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With levels you are adjusting your blacks, mids and highlights. Same as just about every corrector in the world.
Although the UI might look different, you can do the same thing in several ways in resolve. (depending on the type of curve you are looking for between the sections)
Use your color wheels, or your curves, or a combination of the two.
try the curves with all channels locked, and then try with a “Y” only adjustment, you will see a different result.Switch your scopes to histogram, and you will even get a similar looking display.
Glenn
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1- Window and Track the face for the entirety of the shot, or at least the amount you need with some handles for fading in the effect.
2- Add your blur effect
3- go to the point on your timeline where you want the window to start coming in
4- go the the keyframe editor and turn on keyframes for that node
5- go to the key control (little key button) and set the level to 0 . you should see the white matte in the key window go from white to black.
6- go to the frame where you want the blur up at full level
7- change key level to 100
8- adjust as needed
Glenn
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could be a bug…doesn’t happen in 14
Glenn
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Could it be possible the xml is adding some sort of transform that is hiding the video? Scale, opacity, position? If you select an individual clip on the timeline, and check its attributes in each panel (including output nodes) does anything look funky?
I am another weirdo who only uses Resolve for picture. I just export, or ask for a wave file to be exported by the editor for reference sound…or take it from the reference movie they send. I try to avoid touching audio at all costs…that’s what sound engineers are for.
Glenn
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You can also have a nice list view and creation template system in New Blue Title fx, but I don’t think you can import an existing list into it. It does have a nice way of looking at all your titles as a single list.
I’ll have to look into Nina’s subcap explanation. Seems to be reasonable as well.
Glenn
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I believe you are asking to use a database merge into the Avid title tool. The answer is no.
There used to be a script to do this in fusion but I have been unable to get it to work since Eyeon sold the program. Perhaps someone more skilled in scripting than I can get it working again.
Glenn