[Joseph Owens]

[brandon thomas] “Alternately, you can add an Alpha Output to the cinegrain layer, and then use the gain slider under Post Mixing in the Key tab with the alpha output of the node connected to the new Alpha output of the clip.”

I’m not sure that the current version (8.n) supports imbedded alpha… Resolve 9 will, but for now, you have to extract the A channel and import/attach it as an independent clip. Then the “alpha output” will work, otherwise, you have to build the alpha with a qualification of some sort.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

are you creating the AAF with a consolidate?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Sascha Haber] “I just say, get out of codec world”

If only…. Bob Zelin mentioned it during his streamed NAB interview, that the codec mess we’re in is descending into madness. Unfortunately every compression geek out there thinks that they have “the answer” and just push it in whether its a good idea or not, and certainly almost nothing that we’re working with today would likely stand up to a SMPTE standards committee agreeing on whether to give it an actual format designation, like the old days of, for example “C” format tape, or conforming to an RP approval.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Ben Scott] “As I have also got a red render bar I am thinking the codec outputting from the PC resolve isnt optimised for FCP e.g. its reading as Apple none (for the YUV outputs) or none (for RGB outputs)”

Your biggest single clue.

When Apple sees “Uncompressed” as “None”, then its a Quicktime/file problem; cross-platform from PC/Windows/NTFS to Apple/OSX/MacOS. There are issues with byte-ordering that will cause Quicktime under Mac to fail to see what the codec is when it is transported through NTFS. (I’m assuming you’re exporting the graded footage either through a server or an NTFS external hard drive.)

Its possible that a re-render, even cross-rendered back into Apple Uncompressed will cure the problem — however, there may also be scaling problems inherent in this export path (of the nature 0-1023 / 64-940). Its bad news all around.

Your slight shift in chroma/not luma may be due to the Y’CbCr –> RGB —> Y’CbCr not being mathematically rigorous, and it cannot be, oweing to round-off errors. But you ARE going to change the values of most of the footage…. right? Otherwise, if you want EXACTLY back what you sent, then … why are you grading? ;-D

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[John Pilgrim] “I assume “

You know the ass/u /me breakdown. I am not in the practice of using groups, so I don’t know.

It might be slow, but I prefer to call up the node graph and paste a common node where I need to, if there is a requirement to “add a layer” to a scene. I couldn’t honestly tell you if the grade “unifies” when you “group” clips, and it would be interesting to know if the “overall” node might have different effects within a clip if there is a different hierarchy in some of the corrections.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Group.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[olof ekbergh] ” We are really seeing the democratization of video production, and I am all for it.”

People who use this buzz-phrase must have a particularly perverted sense of “democracy”.
Video production has always been open to anyone who could afford it, there is no monarchy or dictatorship involved — its just cheaper now and so is the product.

Maybe its just a semantic distinction, but the term “popularized” might be more accurate.

Like its “popular” to discuss advanced quantum mechanics and cosmology at parties without any qualifications or understanding of the field.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[brian klassen] “I guess I’m wondering whether I would actually make matters worse (lost time and energy, inferior/unusable output) by correcting with a consumer grade monitor in a non-neutral room that has lots of natural light.”

You already know the answer to this, grasshopper. Life is short.

Let’s say I wanted to become a beer-taster (yes, yes I do…) but I didn’t really know much about beer (wrong), but it was only my own beer that I was judging, plus at the same time I was also chowing down on the hottest Pad Thai in the world chased by “Texas Inferno” chili. That’s about the same circumstances as the consumer grade monitor in a totally uncontrolled (and wrong color temperature depending on your latitude, because D65 isn’t “natural light”) room.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Imari Childress] “because FCP and other editors handle it so well. Mixed frame rates are common. What is a workflow to handle this in Resolve? conform everything before you start editing in FCP?”

Maybe some applications handle it well, but FCP is horrible when it comes to mixed frame rate. Field boundaries are unknown to Final Cut and it doesn’t do 23.98/29.97 calculations correctly at all, not when re-imbedding sequences, edited material, or dealing with 3:2 cadence, either pulling it out, or putting it in.

If you read the FCP manuals that have been published up to this point in time, re-conforming (unifying) the frame rate is what they actually recommend.

If you have mixed framerate on a timeline, it is best to “unrender” the sequence and build separate sequences based on native fps, do what you need to do and rebuild. Everything else is an open invitation to disaster.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Colorist. When I’m grading.

I do a lot of other things.

Don’t call me “Late For Supper”.

jPo

You mean “Old Ben”? Ben Kenobi?