[Joseph Mastantuono]

Cmd-Opt-G to create a still

Middle Click on a saved still… applies the grade automatically.

Found this out by accident.

Joseph Mastantuono
Online Editor – Colorist – Post Consultant
917.969.1583

[Joseph Mastantuono]

I much prefer to be behind the client as you have in your diagram, or next to.

It’s much more relaxing as the client isn’t staring over your shoulder, I don’t like the client to have anything other than the client monitor in front of them, it saves me the “No, my computer monitor is not perfectly calibrated, it’s a shitty LCD you shouldn’t look at.” Some clients can’t help but look at the

I also lay out magazines, so they have something to look at if I’m working on a complicated grade.

Joseph Mastantuono
Online Editor – Colorist – Post Consultant
917.969.1583

[Joseph Mastantuono]

I completely agree with gabriele,

I work on a lot of shows that do PiP, terrible multiple track blending, lots of image manipulation within FCP, wipes, flash frames and speed ramps. And putting that into one track, is simply unfeasible. I can make an “aproximation” timeline for the EDL. But many times it’s just worth it hit send to color… I prefer to work in davinci but sometimes, especially for reality shows, it’s not worth the hassle.

Multiple tracks and XML support would allow me to probably ditch color completely.

Joseph Mastantuono
Online Editor – Colorist – Post Consultant
917.969.1583

[Joseph Mastantuono]

Interesting,

I had serious issues trying to bring in a Music Video’s EDL with speed effects, but that had ramps and a speed effect on almost every shot. So I just used the EDL as a cut list, but had to be insanely careful & do some rebuilding afterwards in FCP as there were wipes that the Resolve wasn’t going to recreate. But then I’ve never been able to get good results getting anything with a speed effect out through an EDL.

I actually like the color workflow for this even if it’s a bit clunky where if simply renders the entire shot, to be reconnected in FCP (through XML).

I haven’t dived into it extensively, but I know the reconnect workflow can work in Resolve too, It’s just that I hadn’t figured out how to make the EDL with the wonky speed effects act appropriately without severely going in and altering the timeline.

Darin on that red feature did you use a reconnect workflow or did you export your master directly from Resolve?

Joseph Mastantuono
Online Editor – Colorist – Post Consultant
917.969.1583

[Joseph Mastantuono]

Happy I could help

Joseph Mastantuono
Online Editor – Colorist – Post Consultant
917.969.1583

[Joseph Mastantuono]

Just go into Activity Monitor and quit the TangentPanelDaemon process.

Color will then see the panel.

You will have to re-boot to get the Panel to work in DaVinci again, but usually I don’t have to switch between the two more than once a day so it’s not a big deal.

Joseph Mastantuono
Online Editor – Colorist – Post Consultant
917.969.1583

[Joseph Mastantuono]

Wiiieeerd. Same EDL, same project, just unclicked the “Assist Using Reel #’s” and it connected this time. I think the Assist was throwing it off. because my reel #’s weren’t linked to anything.

However, the whole project isn’t working right quite right, half the clips aren’t linking up properly, but that’s just because EDL’s and speed changes doesn’t ever work right, and neither does any sort of sources with different framerates. That part I should have been expecting though.

Yup. Looks like it’s back to EDL’s as cutlists to have any sort of sane workflow with most projects. Crap.

It’s too bad, I really like the way the Media Pool works, and that grades propagate back to the pool. I guess I could just grade the shots one by one, render and reconnect in FCP, but then I lose the whole “Real-Time” aspect.

Joseph Mastantuono
Online Editor – Colorist – Post Consultant
917.969.1583

[Joseph Mastantuono]

I completely agree on the XML/ALE point. XML’s are much easier to deal with than EDL’s.

To be clear, the EDL *is* loading, (ie. I see the cuts of the correct length inside Resolve) they’re just not connecting to any of the media in the media pool.

Rohit, I’ll be sending an EDL over, here’s a sample:

TITLE: WHO_DAT_TO_RESOLVE
FCM: NON-DROP FRAME
*FCM: DIGITAL TV 24P

001 BL V C 00:00:00:00 00:00:00:00 01:00:00:00 01:00:00:00
001 9523 V W001 014 00:00:18:21 00:00:21:09 01:00:00:00 01:00:02:12
* EFFECT NAME: CHECKERBOARD WIPE
* TO CLIP NAME: MVI_9523_1.MOV
M2 9523 012.0 00:00:18:21

002 9496 V C 00:01:40:13 00:01:40:14 01:00:02:12 01:00:02:13
002 BL V D 002 00:00:00:00 00:00:00:02 01:00:02:13 01:00:02:15
* EFFECT NAME: CROSS DISSOLVE
* FROM CLIP NAME: MVI_9496_1-2.MOV
* FROM CLIP IS A STILL FRAME
M2 9496 000.0 00:01:40:13

003 9500 V C 00:00:26:23 00:00:27:00 01:00:02:20 01:00:02:21
003 BL V D 002 00:00:00:00 00:00:00:02 01:00:02:21 01:00:02:23
* EFFECT NAME: CROSS DISSOLVE
* FROM CLIP NAME: MVI_9500_1.MOV

004 BL V C 00:00:00:00 00:00:00:00 01:00:03:02 01:00:03:02
004 9555 V D 020 00:00:21:11 00:00:23:13 01:00:03:02 01:00:05:04
* EFFECT NAME: CROSS DISSOLVE
* TO CLIP NAME: MVI_9555_1.MOV
M2 9555 019.2 00:00:21:11

I did see the still frames in the EDL but haven’t removed them yet as I didn’t see that as a cause of resolve not connecting to the media.

My Media all has the correct names (as shown in “FROM CLIP NAME:”, and the reel names are just created from the clip name to allow for a proper Media Manage. (the media originally had no reel name as it was converted 5D/7D).

Joseph Mastantuono
Online Editor – Colorist – Post Consultant
917.969.1583