Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[Rob deLeeuw] “I am hoping that there is a way or a pluggin that will allow me to speed up the entire project without affecting the trigger points of the caption file.”
No way.
It will have to be re-time stamped. Even if you recorded the Line 21, when sped up it will be missing frames and will corrupt the hexadecimal coding.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[walter biscardi] “So is this truly clamping or just the scopes clipping off?”
External scopes reflect that nothing goes outside 0-100, so its a possibility that linear video only exists between 64-940 (10-bit) in Resolve. No 63 or below, no 941 and above.
Likely if your source media is linear video, this behavior is in the DNA, so RGB raw and dpx full scale may behave differently so super-White can be exported to DCP or filmout. Hasn’t been required around here.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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First thing I’d suspect is the external FW800 drive. I know ProRes is fine, and 800 is more than adequate for real-time playback under Quicktime, but the color corrector applications call data differently and require very high sustained transfer rates — something that few single-spindle external drives can do.
Try moving a project to an internal RAID and see if it makes a difference.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Try pushing your levels in a test clip above and below normal levels and see what happens.
I can’t seem to push anything above either 0 or 100 in Normally scaled legal video, so I assume there are hard limits preset.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Khashyar Darvich] “what would you do with the resulting black areas that will appear in the area outside of the moved frames? “
If there isn’t too much motion, it might be possible to cheat the black by adding a cloned layer below the primary shot and leave it in its default XY positioning….
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[justin lovell] “faster or better workflow?”
You might consider skipping the resize if you are not exporting it directly from After Effects and it turns out to be faster, because you can crop/resize in Compressor. You might be able to go from the dpx sequence for each reel.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[stig olsen] “Any suggestions?”
Maybe a custom curve (luminance/ganged)?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I’m noticing in your sig that you are running Resolve Lite. Adding extra GPU processing will not help you achieve higher speeds as Lite will only access one GPU, so even if you stuff an Xpander, Lite won’t see them. Or they won’t see the Lite… whichever.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[andrew smith] “do I have to do a temporary key of the blue background and THEN grade everything to match “
Perhaps you are not aware that Resolve can create a composite preview of the combined greenscreen layers. At that point, you are grading “in context”, instead of comparing one plate to the next with stills, etc. You do still have separate control over both the background and foreground, as they are separate elements, but balancing elements within a scene, whether they are qualified by a secondary from within an original shot or the result of a matte inclusion is exactly the same grading task as any other.
This is covered in the manual… about 14 pages are dedicated to this operation. In the Resolve 9 pdf, it starts at about pg 487.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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The fastest nVidia cards you can afford, not the Q4000, but either the Lion compatible ones or flashed from MacVidCards. Search for Pirinelli on this forum.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.