Hector Berrebi
Forum Replies Created
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strange…
I don’t think it has anything to do with the “full” setting.
However.. DNXHD is a 709 codec and should be exported in “Auto” or “Video”
Do you see washed out blacks on your computer screen or on a properly connected calibrated monitor?can you experiment with a few files and export them as DNXHR SQ?
How are you bringing them into Avid by the way?
hector
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[Marc Wielage] “Speed changes are not 100% interchangeable between Avid, FCP, FCPX, Resolve, Premiere, or anything else. They can work to a degree in some cases, provided they’re fixed speed. When Avid 8.x came out, I noticed that suddenly resizing also started to work, including dynamic resizes, which was a welcome surprise.
A lot of this stuff happens because of the limitations of XML. They probably should develop an “XML2″ that includes more parameters for stuff like sizing and color and speed and all that other stuff, and do it in a way that’s 100% compatible with all software. But getting everybody to agree with those standards will be problematic.”
I agree, especially since different interpolations can be involved, or files shot on HFR formats interpreted to 30/25 for slomo, then manipulated, and of course speed curves. Sometimes it works perfectly, but many times it doesn’t or almost matches with frames off on speed change points etc’. I noticed some clients are OK with these minor changes, others insist on frame2frame accuracy, then flattening remains only decent option.
They definitely should work some on XML (Adobe)… and Avid should probably adopt it. I think XML is open source which should make it easier for them to improve on… FCPX’s XML is quite impressive in comparison.
Unless Adobe doesn’t want easy way out of its ecosystem to free, competing programs…
[Joseph Owens] “Haven’t been interested in anything else. Previewed Baselight. Couldn’t afford the $125,000 license, or the economy offering …another plugin for layering on top of an NLE timeline…. really???. Pablo, Mistika… always interesting to get opinions when demoing at shows…”
I can relate ☺ add Luster to that pile of very-impressive-color-tools-for-people-that-work-for-a-boss-who-has-a-budget
I did try the Baselight plugin for Avid (was on Beta for a while). I found it odd and clumsy (though at some points impressive ) and did not feel I want to use it daily.
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[Joseph Owens] “Letter-opener.”
lol…
Indeed..
Did you try to use it for anything other than basic stuff?
You’d think after bombing it with Speedgrade and given their new catfight with BMD, that Adobe would pull out something nice and worthwhile grading-wise. Apple Color wasn’t amazing, but was definitely usable.. and that was 2009. -
Is the room tone from that same shot the laugh is?
Honestly, I wouldn’t do audio work in Resolve just yet.
And actually, I think and editor or colorist shouldn’t do it at all. There are qualified professionals using the right kind of tools and workflows just for that. And you get a nice fixed file to place under the video tracks ☺That said, if you can duplicate that track structure in PP, Avid or FCP, you’d be one step closer to figuring out if its a problem in your workflow, your files or the tool you used.
I also recommend you ask an audio professional about it. Its amazing what audio pros can do inside NLEs using the simplest tools.hector
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Does this happen with the same titles in a clean new project?
What GPU are you using? Getting GPU mem full errors?hector
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[Shane Ross] ” When there is that much going on, you can’t really bring the sequence into Resolve and relink…too much won’t come over.”
Hey Shane ☺
That was my last resort in case nothing else worked.. I didn’t want the back and forth with their editing department so I just asked for a cleaned (as much as possible) project including minimum tracks final sequence, no color or filters and related media.
I even considered grading it in PP using the new Lumetri Color tool… but its still EXTREMELY limited.. must be how a Samurai feels when asked to fight with a machete.
I eventually broke it down to 4 sequences, 2 of them baking un-relinkable mts files and nesting mess into PR444.
All 4 linked rather well in Resolve (minimal eyeball fixes here and there) where I re constructed them back to original timeline.Adobe should really update and improve their XML (and rename it, its still called “Final Cut XML”). It almost feels like they don’t want to, which makes sense it a twisted Adobe way.
[Glenn Sakatch] “I feel your pain.
wow…150 seconds with 175 cuts…thats intense!
The first thing i ask when a project i wasn’t in control of comes to me is “what was it cut on””
Thanks Glenn.
First question I ask is “what was it shot on” and when they answer Alexa (or RED) I say a silent prayer thanking the gods of post for my good fate ???? … But seriously, if it wasn’t such a beautiful project, I wouldn’t have bothered taking it. I really wanted to grade this (and its well payed).hector
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Hi David.
Having high standards in video color work is a good thing ☺
And you seem to have a good budget to get you there.What MacPro are you using? the 2013 (trashcan) model?
the minimum you’ll need for color accurate work is an IO card (black magic one since you plan to use resolve) and a grading monitor.
I think a lot of members here will agree with me that going for a Flanders Scientific model would be one of your safest and best choices. Their products are great, and they are great people to buy gear from.
I’d go for a DM250 or 240. https://flandersscientific.com/DM250/there are many more tools and set up gear you can get, its endless.. but these 2 would be where you want to start, and probably all you’re going to need.
hector.
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couldn’t agree more Glenn… that FCPX style work space is often very constricting. I’d love a big node window.
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Hey Michael,
is this the node structure you suggested?
In that case I tend to agree with Simon,
it can be helpful at times and specific situations where what you are keying can bleed into neighboring areas without it being too notable, or maybe in extreme cases where Matte finesse tools aren’t enough to clean selection..Have you tried mastering key mixer nodes? I find them very useful in creating a less chattery key.
Considering you are good at keying, qualifier chatter is often a sort of warning flag, signaling the limits of what grading tools can achieve on a given shot. There are so many factors that can make an area less or un-keyable, some you can fight, others you must accept. Especially when working with inferior 4:2:0 8 bit video formats.
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I think Joseph meant your OS display resolution.. not timeline.
