[Illya Laney]

I don’t know how attaching a matte to the composited image would work. I’ve never tried something like that.

If the point is to isolate the titles in an image, It might be easier for you to render out your clip with the titles baked in, then export just the alpha matte for the title and attach that to the clip in Resolve. This would work with animated graphics too so you can correct everything but the graphics or vice versa.

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[Illya Laney]

You can composite a still but the control is very limited. Check out Warren’s walkthrough.

vimeo.com/16643351

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[Illya Laney]

Hey, I thought I saw Presto listed there.

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[Illya Laney]

The TIG?

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[Illya Laney]

Vladimir Kucherov
“stills gallery that’s accessible at a touch, etc etc.”

That would be awesome.

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[Illya Laney]

Ingesting some footage right now and I see there’s some info in the XML. It’s going to be in the first comments section under logginginfo along with all the other data like Asa and Fps.

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[Illya Laney]

Are you also handling the conform?

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[Illya Laney]

If there is a way to tell, there would also be a way to know if it’s Rec 709 and not LOG-C.

Are you trying to organize footage based on that? If you’re doing dailies, you should try and request that info from the DIT or have them put it on the camera reports. If they’re changing from 709 to LOG, I bet they’re doing it between camera rolls or scenes so you could sort it out that way.

If you’re onlining, request that info from editorial, so you’ll know if they applied LUTS during the transcode or while they were working with the footage.

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[Illya Laney]

Ola Haldor Voll
” I don’t know anyone else for hundreds of miles who does the same thing, thus they’re so super interested in this, what software I use, and they wanna see what I do on my computer monitor. I don’t like that. It can get a bit uncomfortable having them drooling over my hands as they stretch over me to get a better look at the super cool GUI.”

I have my computer monitor placed to the left of me and set to a very low brightness level. I hate being distracted by a bright monitor. It’s just enough for me to see what I’m doing but too dark for anyone to really see if they’re farther away. It seems people tend to be more interested in the control panel and scopes when you’re flying along.

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[Illya Laney]

Rick Turners
“The wall starts to buzz as it falls off into the shadow.”

What’s the footage source? If the wall starts buzzing as it falls off into the shadows, you’ll need to adjust the lum low clip and lum low soft to create a softer ramp into the shadows.

Keying blonde hair can be difficult even in dedicated compositing applications. As an example, I have a friend who had to roto hair for a week because they needed perfect mattes for a stereo film, and this was even shot in front of a very well lit green screen. If it’s a fairly light blonde, try using just the luminance with low saturation parameters. If you keep the hue in, it’s going to be pretty much impossible to totally isolate the hair because it overlaps with skin tones and the tan wall.

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