Jake Blackstone
Forum Replies Created
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You’re kidding, right?
You said it yourself, that as a source you’re using “one long MXF file (Avid DNxHD)”. So, how do you expect Resolve to do the C-mode resort? The TC is continued and you lose that ability once you “bake in” your TC, unless you use the source with the original TC. -
When you’re grading on your Mac Resolve, what are you looking at? I doubt you have a 4k XRD projector projector. Regardless, Resolve on a Mac with Decklink can’t even display anything higher, than 2k. Which means, the best you can do is 2k grading. If you want to RENDER occasional 4k for VFX at the back end, that’s fine. But you’re GRADING and monitoring at 2k at best. So, what’s all the talk about grading at 4k or 10k and beyond?:-) Seriously, you lost me at 4k for web delivery…
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Exactly my point-4k for web. And they will be showing it on the web where and how? Any client, given a choice, would chose the highest possible resolution, needed or not. Higher resolution must be better, right? But the moment it is explained to them, that it takes more time and it does cost more to produce, all of a sudden, none of those clients NEED 4k anymore. In my opinion, there is zero need to grade in 4k. ZERO… Not least of those reasons is the lack of displaying option. But if you do get one of those demanding clients, that enjoys reading Jannard pronouncements, that “4k is the only way anything should be produced today, otherwise it’s a big mistake and you will be sorry you didn’t listen”, then you always have an option of just rendering your project in 4k:-)
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Exactly my point-4k for web. And they will be showing it on the web where and how? Any client, given a choice, would chose the highest possible resolution, needed or not. Higher resolution must be better, right? But the moment it is explained to them, that it takes more time and it does cost more to produce, all of a sudden, none of those clients NEED 4k anymore. In my opinion, there is zero need to grade in 4k. ZERO… Not least of those reasons is the lack of displaying option. But if you do get one of those demanding clients, that read Jannard pronouncements, that “4k is the only way anything should be produced today, otherwise it’s a big mistake and you will be sorry you didn’t listen”, then you always have an option of just rendering your project in 4k:-)
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Just curious, how much of 4k work are you expecting?
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Haven’t done any jobs, but I’d tested it a while ago with my Resolve driving second Resolve. I had conformed Red project on both machines from same EDL with same RAW files on both and it worked beautifully…
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I wouldn’t worry about the “preset jockeys”. Presets never work and anybody, that uses them deserves those results.
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Ok, let me dig out my experience with Amiga and Sunburst, if it would be pertinent to this discussion, which it isn’t.
Color grading software, that can’t truly color grade isn’t very useful.
Yes, we all used the wonder tracker, the very same tracker, that is used in Lustre and FilmMaster. What about something simpler, like Pan and Scan in side by side mode with offline material? How about Film or Brightness/Contrast mode? Levels and transfer modes? HLS curves and selective color saturation? Multilayer AAF import and multilayer grading? Noise, scratch, dust, grain removal? Compositing? OMF plugin support? How about something more substantial, than the most basic keyer? A useful group grading? And don’t get me started on a need to restart Resolve, every time I assign the new drive.
Do I need to go on?
And aren’t they spelled LUSTRE and POGLE?
I get it, you’re happy with state of Resolve now, I’m not. Papering over Resolve’s shortcomings doesn’t help anybody. -
It would be helpful, if you tried to use something else, beside Color and Resolve, before you claim my bias. I currently work with Lustre, FilmMaster, Scratch, Baselight and, yes, Resolve. Yes, all those grading solutions are much more expensive, than Resolve, but it was, after all, positioned and priced very recently in the same price range. So, go ahead, widen your horizons a bit.
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Example scenario
Lets say you have an image that was balanced for daylight and then exposed to tungsten. Super yellow. If you shot it on say 5D, there’s not gonna be much info to play with…In resolve:
You’d “balance the image” by pulling out yellow and adding blue till it looked neutral. At this point you’ve thrown away half of your image data (lets assume 411 colorspace for simplicity- The blue channel contains 1/4th of the pixel data of that green channel, and the image itself has very little blue in it. You’re throwing away the yellow green which is the strongest channel, and stretching out the blue which is the weakest) So your image starts to look like crap.
Or..
You use the qualifier to select yellow hue only, and you desat and hue shift it before grading a second layer. The result is dirty. Don’t know why but I’ve compared it.In Color:
You’d open a secondary curve, notch the yellow and green sat down, blue magenta sat up. Then you’d nudge the oranges towards red, and the blues away from magenta. You’re not throwing away pixel data, you’re just reshaping it.When an image is exposed too warm or too cold, the colors exhibit a non-linear hue shift. The reds might be in the right spot, and everything else may need to shift exponentially.
Also curves are super fast. I can make trees the right color green, or fix skintones, or fix a sky in a matter of seconds. Waaay faster than pulling a qualifier that doesn’t suck, and definitely cleaner to paste across many shots.
Read and weep:-)