Glenn Sakatch
46
Avid Coins
85
COW Coins
36
DaVinci Coins
4
Premiere Pro Coins
2
Solve Coins
Forum Replies Created
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Duke, I wouldn’t call this the idiots way, I would call this the smart way.
There is very little need to “work” at 4k. I routinely set my timeline to HD, do my work, then switch it back to 4k for the final renders. If you are pulling keys that require the 4k source, then switch over, but I would suggest 95+ percent of your color work can be done in hd with a final switch to 4k prior to render. Even outputting client approvals can usually be HD. In fact my last 4 projects were shot at either 4k or 2.8k, and didn’t see the source resolution until final render, except for the day of VFX plate outputs, where the timeline was set to full res.
I have a preset ready to go for 4k, 2.8k and HD and it takes about 5 seconds to switch from 1 to the other.
And yes, you do need to set your timeline resolution to 4k prior to rendering, otherwise you are upconverting from your timeline resolution to your output resolution.
As for your black bars issue, you need to look into the image scaling settings and play with the scale with crop vs scale to fill screen vs force all the corners settings. In there you will find your ability to get rid of the letterbox, while maintaining aspect ratios.
Glenn
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If the aaf is not automatically being made, try pushing the avid preset EVERYTIME before adding to render queue.
Just because you have all the correct settings called up for an avid workflow, doesn’t mean you will get the aaf. I find I have to press the avid button each time to be sure I get an aaf.
Glenn
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Are your camera source files from the same camera type?
Glenn
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Never done it with Boris Red, but is there a button/switch that says “apply as title” or “apply to title”?
Glenn
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I found it in Windows the other day…It took a while, but I found it under the workspaces drop down menu.
I do recall reading in one of the whats new that it had moved, but it still took about 5 mins to find it.
Glenn
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Like Michael said…do some tests. No matter what you end up with for the majority of your footage, you may still find a shot or format that you need to do different from the rest. (bring into its own project, then transfer over and play with the motion adapters, or run through something like compressor to do a conversion to your final format.
Keep your head up and make notes of shots that are going to need attention later in the process. Sometimes its only 1 or 2 shots, and there is nothing wrong with reconverting 1 or two shots after you have cut with them, and decided they need a different process.
Glenn
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This might be a good time to show a screen grab of your folder structure/contents
Glenn
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Ken, It might depend on the ofx you are trying to use, but if you go to your keyframes tab, and open up the node your ofx is on, you should see a keyframe button specifically for OFX down at the bottom. (rather than setting a global keyframe)
Glenn
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Duke…keep it simple. Don’t try to open two at once. Open first project, then use your home icon bottom right corner and double click on a second project. Should work.
Glenn
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I’ve been doing DNX444 to Premiere for 1 particular project, but because of either my lack of knowledge on how to change the color interprelation, or Premiere’s lack of ability to change how it reads a file, I select full levels in Resolve for my output. Blacks should then look proper in Premiere. 444 should be full, but I find Resolve, if left in Auto, outputs it at Video level, perhaps reading the DNX tag as more important than the 444 tag.
Either way, set your levels to Full if going to Premiere.
Glenn