[Jef Huey]

Also please view this:

https://download.autodesk.com/us/lustre/tutorial-2007-01-23/

Specifically the Section labeled “Relighting”.

This is what my memory pointed to.

Jef

[Jef Huey]

Well, never did may mean in a release version ….

Please read the following:

https://www.fxphd.com/blog/nab-rip/

I saw the same demo and that is what I referred to. Never followed up to know that it was not a released feature.

Jef

[Jef Huey]

It has been awhile, but I do believe Lustre has the tools that the OP is asking about.

I do not remember exactly how they work, but I believe you could get there with use off mattes and windows.

Memory says they looked much like the light tools of smoke / flame or After Effects. Controlling exactly what is “relit” is the trick.

Jef

[Jef Huey]

Great trick Chris. Exactly what I was looking for.

Thanks!

Jef

[Jef Huey]

Well I just played with this in Premeire from CS3. And putting 23.976 into a 29.97 timeline looked just like FCP – a repeated frame every 5th frame rather than a 3:2 pulldown.

I realize this is much older software than current.

Jef

[Jef Huey]

Hi David,

I think you may have misunderstood my question.

I am wondering about a MIXED frame rate timeline. By that I mean a timeline with both 29.97 AND 23.976 fps material whose sequence frame rate is 29.97.

Thanks,

Jef

[Jef Huey]

Hi John,
Well I am an editor, not a colorist! And I may be sounding like a broken record at this point, but the Avid workflow for Resolve needs help.

I truly hope that v8 will be an improvement.

Currently here are issues we have seen.

First, there is no support for 10bit uncompressed .MXF from Avid. This is really needed for our workflows. We also want to see the 10bit RGB .MXF Avid codec supported.

Second, AAF needs major work. Currently, if you export an AAF and media which includes 10bit DNxHD files, those files are not seen by Resolve. We have also seen instances where the source TC of clips are not matching the AAF when they did match in the Avid.

Third, and this may be part of Two. We have seen that an AAF which is made up of a mixture of DF and NDF sources is not handled correctly. Depending on settings in the config table, clips are correct either for DF or NDF, but not both.

Fourth, when MXF is rendered out, something is missing or incorrect in the metadata. As a result, the clips will not relink in Avid. This forces you to use a render of the entire timeline rather than individual clips with handles. Not really what we are wanting in all cases.

Once again, we hope v8 addresses some or all of these issues.

Jef

[Jef Huey]

This is part of Resolves approach to MXF. We have been talking with DaVinci about this. The video is not clipped, but scaled to full range with levels out of legal range hidden. You can recover these levels, but I find this a bit annoying (pull levels down on every shot in a doc to see what is there?). I wish that this was a workflow selection rather than a mandate.

My biggest concern is that Resolve does not fully support Avid workflow. At the simplest, it does not support Uncompressed 10bit MXF files on the IO. And there are issues with DNxHD 10bit in the AAF workflow.

I hope that these issues are addressed in the new Resolve release.

Jef

[Jef Huey]

You can not stop at just doing an automatic track. You must set a co-ordinate system that is applicable to your needs. Watch the tuts on the Syntheyes site about co-ordinate system.

jef

[Jef Huey]

Hi all,

I am an editor, not a colorist, but I interact with colorist all the time. If you render out a session in source mode with handles from resolve, how is new metadata handled?

By this I mean, you have now created new media. Does Resolve create an EDL that matches this new media to allow an editor (me) to reassemble or is it eye match time?

Thanks,

Jef