Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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[Charlie Chang] ” I get the following popup window. What does it mean?”
What are you “spline interpolating”? Resolve does not support variable speed remaps, which might be one explanation. You might be doing some PanTiltRevolveZoom (PTRZ) remaps that Resolve can’t recreate.
AAF roundtripping is still not quite as evolved or developed as XML workflow, so AMA, which uses some relative path assignments will probably result in Resolve not being able to link to the media, which does not have to conform with the AvidMediaFiles/MXF/# convention… but the return trip *does*.
If you want an externally accessible DaVinci project file, you would be as well-served by simply doing an “export” of your current project, and you can assign a new name and a directory of your choice. Works very nicely for creating backups, archives, remote grades if your client requests them.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Laco Gaal] “what is the best way to reproduce the curves”
It would probably have to be a two-layer process in Photoshop. Draw the same shape curve — do not move the endpoints, and then use a histogram multiplier to emulate the gain, black and gamma factors. It will be inexact because the internal matrixing will be completely different between the sRGB application, which is NOT operating in Rec709, and Resolve, and because CustomCurves, at least as far back as its introduction on Renaissance 8:8:8 was never designed to be a correction method on its own, and thematically would better fit in the YSFX section of the manual.
Another path to explore might be to try to simulate the image values with a LUT that might be exportable. But because the target values are dependent on the base grade for a specific clip, it might not be universal. Which is why anti-log LUTs for field-acquired images are not a magic filter — cinematographers will be up and down the response curve of the overall exposure behaviour of their imaging device, just like Original Camera Negative, so there are non-linearities within the non-linearities. The classic puzzle wrapped in an enigma posed as a riddle.
And don’t we all love a mystery?
Happy New Year, tous le monde.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Its usually a database/default path fault. You don’t get a “Search another directory” prompt?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Seems its another little perk that comes with your $29,000 purchase. Also the ability to mark-in/out a playback review loop.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Yoram Tal] “1. Auto correct stops working on occasion and will not come back until reboot.
2. Curves will start acting in reverse to their normal behavior ) creating a point pulling it down will brighten picture up will darken)”Sorry, point (1) I cannot comment on as I have never used auto correct.
Point (2). DaVinci Custom curves are a behaviour modification, not a correction, and this is the misapprehension that someone else who is trying to get the developer to change the application into Photoshop is labouring under. The curve is *multiplied* by the gamma adjustment, so if you have a negative gamma factor, then “up” is “down” and vice versa.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Eric Johnson] “All of the Animation that went to 4444 were way lifted,”
You’re rendering an RGB codec (Animation) into a Quicktime container that can be either RGB or Y’CbCr… and FCP won’t be able to tell the difference. It will assume the ProRes4x4 is linear video but it isn’t. Try ProRes422,which is Y’CbCr only and see if that changes the situation.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Eric Johnson] “I’m trying to track down any situations that would result in a Luma or Gamma shift, towards black, going between Resolve and FCP7.”
Confused RGB / Y’CbCR files that have differing linear/full range scaling issues would be a big factor.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Eric Tramp] “I just wish I could figure out how to make the .aaf from Resolve import properly into Avid.”
It can’t, not with all the details you want. Resolve can generate fresh XMLs for FCP, but in AVID-land, a fully detailed AAF has to be originated in MC or Symphony. Resolve modifies that, the same way that Apple COLOR used to need an XML from FCP… it could not generate a fresh list.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Juan Salvo] “8 bit also means c-log is a really bad idea”
Cannot stress this enough.
One word: HORRIBLE.
Way worse than underexposed 5298 when Eastman first brought it out. C-Log is not log, it is compressed linear. Was just asked the question last night about any anti-log curves that might be available, but no, there is none. Cinematographers shoot “off the chart” anyway, so there is no “put the contrast back in” filter. Dropping the lift is a one-way ticket to Noise City…
The 8-bit reveals itself very, very quickly if you need to stretch the pedestal at all. The vectorscope display shows a broken, stepping gamut grating that would not make an effective horse-fly swatter.
Of course the Long-GOP means the CPUs are working very, very hard to sustain frame rates, tracking is questionable, often the preview turns into a noise garble… and secondary qualifications? Might look okay parked on the frame, but hit “Play” and your qualifiers start flapping like flightless waterfowl. Edges are choppy, the noise makes it almost impossible to be exact with HSL qualifiers.
Actually, when I do hit “Play”, my UPS power supplies start screaming in overload — I checked the display once… the MacPro was drawing 850 watts.
Oh, and when you get the media back on the timeline you will find that most of it is a frame delayed within the edits. Sometimes more. But for some reason, even when handles are set to none, you get another 2-3 frames on the head and tail of every clip.
Borders on fraud, IMHO.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Spyros Skandalos] “My 5hours footage shot with a Sony hdv Fx1 1080i 29.97fps.
I want to get a smoother look and decided to edit in a 25fps timeline (fcpx).”When a producer signs a delivery contract with a broadcaster, one of the items in every document I have ever seen is a clause either prohibiting the use of HDV or limiting its use to a pre-agreed, extremely small percentage of the finished property. Why? Because HDV is just a terrible format, for one. Terrible for broadcast because it is the #1 early Long-GOP format. It has the same bitrate as SD Digital Betacam. It is low-bandwidth because it has a highly compressed, 8-bit, 4:2:0 encoding scheme. Is any of this important? Only to people who need to do more with their footage than shoot it, edit it, bake out a Quicktime, and that’s it.
Also, broadcasters tend to like their delivered shows to have been shot in the same frame rate as the deliverable: although 23.98 –> 25 and 23.98 –>29.97 are allowed, since it is rare for film-based productions to have been shot at the native broadcast film rate and so pulldown schemes were invented to accommodate that.
Enter HDV, that can only record at video rates, rather than film rates. It would have been so much easier for you to simply shoot at 25.
I’m surprised that FCP has not been a bigger obstacle with this framerate disparity, and it didn’t discourage you at the outset.
In the end, though, finish your edit. Send it to Compressor, set either for “Better” or “Best” motion/ frame rate conversion and be prepared to wait for either a very long time, or an extremely, like unimagineably, long time.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.