Jake Keller
Forum Replies Created
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Hi Tim,
All our early projects before 2015 were cut with FCP7 and we made the switch this year over to Premiere, so were full Adobe CC now. All our graphics and vfx are done in After Effects and some from vendors when not done in-house.
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Thank you for the replies guys. Joseph, I’m not a very advanced Resolve user, where in the Color tab can I swap the node to YUV?
One other question regarding bit rates, this time from the C300 with no external recorder. Cutting on 422 transcodes at the moment and not finishing on a Quicktime. Should I reingest to HQ media for the online?
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I have a few dynamic linked comps for title animations and some adjustment layers for color correction, but changing my sequence settings to something other than ProRes solved the issue. I now get about a minute and a half export time. Thanks so much for the help. It’s a pity that that the ProRes codecs are having issues inside Premiere.
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Sorry to put you all through this slog of a problem. After much interference and mystery as to why this was all happening, I slowly discovered that the colorist (having used Resolve only this once) never reconnected to the R3D files per my instructions and had colored my pre-graded proxies. Very frustrating indeed. All of your replies were a great insight on project management as stated by Peter so I thank you all once again for the support and concern.
Best,
Jake -
Hey Peter, I think we discovered the issue to our problem. They ended up coloring all of the RED footage under the ARRI Alexa settings for Camera Raw. Not sure how it got locked to the Alexa profile as it was R3D files reconnected from the XML import, but that’s what happened. I’m unable to reproduce the issue as every R3D I throw at Resolve sets the Camera Raw on the Color Page to RED. If there is a way to manually switch it to Alexa on the Color page all the grades will render out correctly, otherwise, what’s the best way of applying the Alexa colorspace to all my clips? Is there a way to apply a LUT to my rendered clips? Obviously this is not ideal and things were don’t incorrectly, but switching my entire Resolve project into the Alexa format is my best bet I think. Thank you!
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Peter,
Thank you so much for your assistance in this and I am beginning to see the error in my process.
1. After creating the new DISK database on an external hard drive, I exported the project from the Local Database (the laptop) to this newly created DISK database on the external drive.
2. Opening Resolve through a Local Database on a desktop and importing the project that was created on the laptop and then exported to the DISK database on the external.
3. Importing the stills I exported from the Local Database (on the laptop) to the external hard drive, into the database on the desktop I’m now using.
Something is definitely getting lost in translation and I will be trouble shooting the Source Folder option in the morning. The Powergrades from the colorist’s laptop were created under the “admin” user.
How do I go about opening the DISK database/original project I created/exported onto the external hard drive without creating a new database? After I am able to do this I can try changing the source folder. Thanks for your patience and once again I appreciate your support!
Jake
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This is great, thanks Dan! It works even without the expression and only pasted the path, but adding the time value helps for offsetting it’s location on the stroked line. Thank you so much!
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Hey Mark, thanks for replying to this slog of a process, yikes!
Suggestion 2: Yes, this was my initial approach, although each shot doesn’t have an individual name associated to it, so it will just batch export (after media managing) each multiclip with handles and the filename of that camera. There would be no way to tell what shot was which, because the filenames would all be the same :/
Ex: 03_CAMA_S001_T001_MS.mov (TC00:00:01:23) and 03_CAMA_S001_T001_MS.mov (TC00:00:03:12)
Suggestion 3: This is the best possible solution right now, however render times are pretty big, considering the takes roll for a while. Even if I do get them to shoot plates of the props next time and not together with the actors, I’ll still have to comp and render everything for each camera and so on. A better idea if it’s shot correctly then is to key the actors’ plates in FCP at that point and just comp in the backgrounds/set pieces as I’ve been doing. My only fear is that there will continue to be a good amount of spill and reflective set pieces, and I will still need to make separate mattes for those then still render the submasters out of AE.
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Double-click on the layer your pasting the mocha mask on to view the layer. Go to the first keyframe in your mask path on the timeline and then in the viewer set your IN point. Use the arrows to navigate to the last keyframe of your mask path and then in the viewer set your OUT point. This will bring all your keyframes to where they need to be on the timeline.
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I was only presuming this due to the fact that when any display is plugged into any native video card port of a computer, it will show up in the display settings.
Example: I can plug in any TV/computer display into a DVI/mini Display on a Mac or use an adapter and it will show up in my display settings just fine. That’s common sense in my book.
Am I correct then in understanding that since the AJA is a third party card it does not directly communicate with the computer’s native video signal?
Ideally I am wanting to calibrate the HDTV using a datacolor Spyder, but the software doesn’t recognize the television due to the above situation. Of course it recognizes my display thats plugging into the mini Display Port, but I don’t understand at all how to have it recognize the AJA card, which is outputting to Component on the television. Perhaps it’s not meant to at all.
I know that calibration by eye is subjective, but I’m trying to learn how to achieve it by using software and a proper calibrator.