[Illya Laney]

What are the details of your sequence, media, speedchanges in FCP?

twitter.com/illyalaney

[Illya Laney]

What happens when you force the clips to reconnect?

twitter.com/illyalaney

[Illya Laney]

You do sky gradients in Resolve basically the same way you do them in Color. Two serial nodes with the sky keyed. One blue and one orange with linear or polygonal Power Windows softened and overlapping to create the gradient. If you have the sky keyed then it shouldn’t matter if someone walks into frame. If you want to get fancy, render out a gradient matte and use that.

Nattress has a gradient FX node for Color too.

twitter.com/illyalaney

[Illya Laney]

Could what you’re talking about be accomplished this way?

1. Go to the Format tab.

2. Click on the track tab on the lower right timeline to activate the track mode.

3. Go to the Output Transform settings in the Output tab and adjust whatever you want. The transform will affect all the clips in the current timeline and you can save it as a preset.

twitter.com/illyalaney

[Illya Laney]

I never said I didn’t want multi-layer timelines. I also didn’t say it was wrong to ask Blackmagic for features. Where did you read that?

twitter.com/illyalaney

[Illya Laney]

Gabriele Turchi
“”my guess is that they don;t have to deal with client that pay quite big money .”

Not all high paying clients use or like the same workflows. For example, all my Adidas and Sony work is shipped FedEx or FTP’d and approved remotely. A few years ago I was even hired to go to a guy’s apartment in SF to work on spots side by side with advertising execs from London and it wasn’t a cheap commercial. Fortunately there was a full studio setup in one of the rooms.

You sound like you’re involved primarily in the final color and finishing market so Smoke and Flame might be better for you, but there’s also a market for dailies colorists. People request timed dailies for editorial and that’s increasing considerably with more and more projects being shot on the Alexa. I’m not talking about just applying a Log to Lin LUT.

If I had to request a feature from Blackmagic, I’d love to see some decent tools for syncing audio. That would be killer for using it on set to create dailies, but I realize that’s also a pretty demanding request.

twitter.com/illyalaney

[Illya Laney]

I thought people wanted multilayers for blending and transparency reasons.

twitter.com/illyalaney

[Illya Laney]

It should only take you a couple minutes to media manage and relink in FCP. All the VFX and multilayer effects are approved in the NLE or compositing application we’re working with.

I never said I didn’t want multi-layer timelines. I like SpeedGrade, but I prefer the look, control, and speed Resolve has. I’m not impatient or afraid of Flame artists so I’m fine waiting for Blackmagic to add new features.

twitter.com/illyalaney

[Illya Laney]

“3 X GTX-285 P7T6 Supercomputer “

Awesome.

twitter.com/illyalaney

[Illya Laney]

Blase Theodore
“When a client delivers a 5 layer timeline of R3D material with 3 layers of interweaving dissolves and a 12 hour deadline, I need a tool that can actually do the job.”

How long is the sequence? 12 hours is more than enough time to finish a music video, spot, or title sequence this way. The method depends on the NLE but it’s all basically the same.

Clean up the timeline > Media Manage/Consolidate > Create client approved best light on managed footage > Relink footage in NLE > Export for final color and scene detect > Grade in context > lay off to tape or finish or whatever the client wants.

The best light should be mild enough to still give you room to play for final color. A 3:1 time ratio for the best light footage and the speed Resolve gives you with a RED Rocket more than makes up for the benefit of having multiple tracks.

twitter.com/illyalaney