[Joseph Owens]

I know its not really the same, but my workflow is to dis-embed the alpha channel, render it as a ProRes movie, and re-import it as matte, re-attaching it to its parent in the node tree. No need for multiiple layers.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Ryan Snook] “I have a hard time understanding (outside of Resolve specifically looking for a second video cards for its GPU processing) how a video card simply plugged into a PCI-e slot with no monitor connected to it is recognized and utilized by a system cross-application.”

Its application specific, as far as I can gather. Final Cut used to offer, for example, the “Effects Handling” tab in its settings. If you had an accelerator card that supported a specific codec, you could deliberately divert that processing to that specific card. With the advent of I/O cards like AJA Kona, etc., they automatically invited FCP to use their resources, so even when you open up that dialogue, FCP has control of everything it can see and you have all the options that Henry Ford used to offer — ie., any color you like as long as its “black”.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Are there any monitors connected to the unrecognized GPUs?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I doubt there can be anyone unfamiliar with the persona of Leonardo daVinci, especially since we use the name so commonly, and of course for colorists DaVinci is a brand name.

But here’s a sample of what he really thought:

1178.
It seems to me that men of coarse and clumsy habits and of small knowledge do not deserve such fine instruments nor so great a variety of natural mechanism as men of speculation and of great knowledge; but merely a sack in which their food may be stowed and whence it may issue, since they cannot be judged to be any thing else than vehicles for food; for it seems to me they have nothing about them of the human species but the voice and the figure, and for all the rest are much below beasts.
1179.
Some there are who are nothing else than a passage for food and augmentors of excrement and fillers of privies, because through them no other things in the world, nor any good effects are produced, since nothing but full privies results from them.

He was so far ahead of his time, we’re still catching up.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Soren Balle] “The thing is, I only have the Blu-Ray writer for a limited time, so I would like to encode all the video beforehand, since it takes nearly 24 hours…”

If you have access to authoring software, like Toast or Encore, you should be able to create “disk image” files, which are a file which can be burned directly as a copy function to a diskwriter. I tend to do this with all my projects rather than building them every time.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Scott Shropshire] “have the proper driver installed”

That should be “drivers“. If RESOLVE is not seeing multiple GPUs, (and I don’t know which driver you have actually installed) then my guess would be that you don’t have the proper CUDA-support driver installed. This varies slightly among OS implementations, and I run Mac, so which is the right combination for your Windows platform will take a little bit of searching.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

“Roundtripping” ….

At least in the past six years or so the term has come to mean the ability to export a sequence into another application, do some operations with it, most of the time render new source media, and re-open substantially the same edited sequence in another, or even the original, application and have it either link to the new, modified source material, or preserve the relationship to other parts of the project, media-wise.

You are probably running into issues with XML versions that may or not be understandable among the 3 or 4 applications you are trying to navigate between. FCP, FCX, PPro, and Resolve all have different protocols. Resolve itself seems to work best with XMLVersion 5 from FCP, but I’ve only done a couple of
Final Cut jobs with it so far– most of my work has been with AAF roundtripping with MediaComposer6.

As far as RGB static noise goes, seems to suggest a codec issue — and certainly there was a point in time when roundtripping between FCP and SHAKE resulted in an -endian inversion when Apple changed Quicktime for the umpteenth time and did not update all the applications that might need to access 10-bit processing — and this is of course what all FCP7 users now fear will be the fate of the last fully-functional version of Final Cut Pro (as was the case with SHAKE). But, of course we’re supposed to be happy with MOTION.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Mikael Nordenstrom] ” how can they even recommend it when it doesn’t even give me real time for basic corrections in HD”

Legal reasons — remember, Apple is the new Big Brother — ssshhhhhhhh!

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Okay, to clarify….

Is this approach trying to grade inside/outside a single source clip, using a matte shape to define the secondary qualification? If yes, then the answer is yes, by simply adding a node downstream of the matte qualified correction. This is elementary grading practice.

If, however, the aim is to simultaneously grade two source clips that have been “composited” by threading a matte-qualification (for example a bg/fg greenscreen combination)between video layers, then I am not aware of how to do that other than to add a serial node as before, but clone it and add it to the complementary source clip in question.

Mattes are always added to the media pool specifically as mattes and are attached to its specific “mother” source clip — and selected with a right click in the node tree.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Nope.

jPo

You mean “Old Ben”? Ben Kenobi?