Jake Blackstone
Forum Replies Created
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Many use Printer Lights and using it with keyboards is quite nice on pretty much any top software. This is the only control that I’m aware, that is pretty much universal and standardized. 4-7 for Red, 5-6 for Green and 6-9 for Blue. Unfortunately these days clients require much more than just Printer Lights:)
On the original OP question, KeyPad application allows very high level of customization. For example I can click once for for new serial node with the circle window and by swiping to the right will cause Resolve to start tracking forward. Swimming to the left will start tracking in the other direction. It works through WiFi and it has no lag. But without tactile feedback you always must look down at the iPAD. -
That’s what I already described as a workaround four posts ago:)
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Obviously I agree with pretty much all, but I think it’s time to begin to pare down certain windows, like scene detection and key framing. When one conforms in NLE, there is no separate window for that. Why Resolve needs it? Isn’t Resolve is marketed as an NLE?
The same goes for key framing. That window is down and to the right of the timeline. It’s sizing has no correlation to the actual timeline and makes no sense. For example in Nucoda the keyframing is done right underneath the actual event in the main timeline and resizing event causes resizing of the keyframes as well. It’s just so much more natural and simpler and it doesn’t waste all that space. -
You don’t even need to do that. You can just delete the event, that includes the offending cut and then just extend the previous cut for the full duration of the new uncut event. It’s just still annoying and it is still a workaround for a bug.
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As I said, if BMD just slowed down a bit and instead of introducing 150 new editing features every year, just went over all main grading operations and cleaned up the buggy mess, Resolve would become a much better color grading platform. Improving or allowing custom mapping, simplifying the caching and to actually getting it to work, improving scene detection, implementing Log grading instead of Video Log grading, improving sharpening, instead of something that looks like coring, better metadata handling, that is preventing proper Color-tracing are just a few of the serious color grading issues , that needs to be addressed ASAP. Alas, I afraid, will just see more editing features before we’ll see any color grading improvements…
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I strongly disagree.
Resolve does scene detect the same way it had always done, by simply using detection of video level changes. Today there are ways of improving scene detection, which as I already had mentioned, competitors already do it and they do it much better. Just because that’s how DaVinci always operated is not a reason to continue to do it the same lousy way. In case of Nucoda, Baselight or even much older software like Lustre there is no such thing as a separate scene detection operation. It is done using the same timeline and not some separate import window. For life of me, I can’t understand the contention, that if the cut was done during the scene detection import process, somehow that cut is different from a cut done in the timeline. The cut is a cut, regardless how it was created and, if I want to get rid of a cut I should be able get rid of it without a needed to jump through the workaround hoops, a-la do scene detection, export EDL, then import EDL, get rid of a unneeded cuts etc…
Always trying to defend the indefensible is what helps to keep Resolve is so bug ridden (yes, this IS a bug) and colorist unfriendly… -
No need to reinvent the wheel. Nucoda already does it with aplomb flawlessly. I already suggested it two years ago, but for some reason it had been ignored. What I suggested is to use the temporal information, the same that is used for temporal noise reduction or flow motion. Combined with video level changes it would be simple to determine what is a true cut and what is a camera flash or a dissolve. And for a god sake, fix the bug preventing the joining of the wrong cuts in the timeline after the scene detects!
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Nucoda deals with this issue in a much more sophisticated matter. You can tell the system, that your session is using LOG material and all tools are rescaled accordingly. Additionally, at any point you can switch any tool to a different gamma setting. Keyer can use it’s own contrast adjustment for getting better keying without affecting the actual image. And the best part, in LOG mode Nucoda actually works correctly, unlike Resolve:)
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How did this topic ended up here? MC Color isn’t supported by Nucoda any longer…
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First of all, the statement “they want a 4K restoration of the film for a HD Blu-Ray release” doesn’t make sense. Why do you need 4k resolution for Blue-ray release? Second, as already pointed out, Library of Congress must have a bit more discretion, than to “entrusted you the highest quality copy available of a movie made over 100 years ago” to someone who doesn’t even know what tools to use for restoration. Scanning something like that is not a simple matter of throwing the film up on the scanner. It’s actually quite a bit more complicated.
Said that, there are plenty of software for tackling the actual restoration.
PFClean, Diamant, Phoenix, MTI.
From conversation with Nucoda people, Digital Vision still does a brisk business in India selling Phoenix, where they sell it by the hundreds. At some places in India they turn out films restored in a day, because they literally have hundreds of people working on it at once. Digital Vision sell a full workflow solution for the film restorations, which also includes a scanner. It is highly automated capable of doing many task hands free, but you still need human touch for certain operations.