Forum Replies Created
-
I seriously disagree with just about each point you’re making Robert.
The principal of temporal NR is the same, regardless of the software. Implementation can differ, but the main principal remains the same- motion analysis of pixel trajectory is used to decide what is noise and what is not. If you feel, that you must qualify the area where the NR is used no one stops you from doing it. If anything, the notion of spending an inordinate amount of time on something, that should be done pretty much automatically flies in the face of modern color grading. Modern color grading is all about the control and speed. That is why I feel, that Resolve has a long way to go in accommodating the colorist’s need for better panel mapping and concentrating on creative grading and not on the incessant button pushing. Some companies, like FilmLight or Nucoda managed to balance the power of it’s tools with the simplicity of the interface by allowing users to modify it to their own preferences. Take for example the NR in FilmMaster. It’s an exact opposite of Neat Video. There is NO interaction required. it’s one button push and the software magically “knows” the difference between film grain and noise. And the result is simply unrivaled by anyone in the business.
No, real time is not easy, if everything has to be done on the fly. That is why the same before mentioned manufacturers have very powerful caching capabilities, where you can apply NR and those systems will seamlessly perform that operation in the background while you grade, as well as R3D debayer.
I would volunteer, that DI is the last place, where you’d want to do many types of VFX work. It should be done by the qualified artist and by using a proper software- AE, Smoke, Nuke etc, where client will get much better results, much faster and at the lower cost, rather that trying to cram it into DI session. Sometimes more is not better… -
It would be an awesome panel to use with Resolve, even better, than Elements, IF it was supported, which it’s not…
-
I hate to burst everyone’s bubble, but the idea of using OFX in Resolve right now in it’s present iteration is half baked and not ready for prime time. Throwing a single plugin like Bleach bypass brings Resolve to a crawl. With three GPUs I’m getting only 18 fps. And that plug in is not really that resource hungry, like Neat Video. So, if you’re OK with VERY SLOW playback, when you want to use Neat Video, then fine. But, I repeat, until BMD decides to implement persistent background caching correctly, OFX is just a gimmick and nothing more.
-
The temporal NR reduction principal is the same in every piece of software. It’s just the way to identify what is noise and what is not. Obviously, being able to analyze 4 frames spread vs 10 frames is a quality disadvantage. Said that, BMD had to make a determination between speed and quality. If they did allow 10 frames analysis, Resolve would be unable to do it in real time. Neat Video doesn’t work in real time without the render and for color grading is a no go. Until BMD fixes Resolve’s cache, Neat Video or not, you’re stuck with just the native temporal NR for real time playback.
-
You can also define area for the native temporal NR by HSL qualifiers or by the windows.
-
Jake Blackstone
September 16, 2013 at 11:42 pm in reply to: anyone tried neat openfx with resolve 10Why?
Native Temporal NR in V10 is based on the same principal as Neat Video and you should get very similar results. -
Jake Blackstone
September 13, 2013 at 4:47 am in reply to: How to change white car to Red and Blue car?Of coarse . You need to key the car out first and then you do the trick with the Mixer just on the car and not on the whole picture. You were talking about turning the white car into red didn’t you?
-
Jake Blackstone
September 12, 2013 at 5:52 pm in reply to: How to change white car to Red and Blue car?Try killing Red and Green channels for the white car, so you end up with Blue car. The same goes for the Green car. You can try to use the Mixer for this experiment. Or for even easier solution, pull those channels down with Curves.
-
Jake Blackstone
September 12, 2013 at 5:48 pm in reply to: Removing a Magenta Cast from a 35mm PrintYou should try to use the Mixer. Even if you’re missing some information due to the layer loss, you may be able to “cheat” by “borrowing” missing information from the other layers.
-
If you use Quickeys, you can assign any operation you like to any shortcut keys. You can even do it for the ones, that don’t have shortcuts, like the ones you asked for:-)