Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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[Dimitris Panagopoulos] “Graphics: 2047MB NVIDIA GeForce GTX 670 (I know i need Quadro card for 10bit)”
You don’t need 10-bit necessarily for the UI. How are you intending to display the judgement output?
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Robert Withers] “what Mac OS is needed for current DaVinci.”
You mean (sic)–> macOS.
Depending on your GPU selection and number of cards in use, you should try to get to at least 10.12 Sierra. Yosemite is still fine. Sierra apparently re-opens the number and type of nVidia cards you can use. There are new patches to leverage into the 1080X Pascal cards — but be aware that you will be required to match the nvidia drivers and CUDA with every update.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Marc Wielage] ” The fact that they rushed it out with an unfinished manual tells me this is very, very Beta-ish.”
That sir, is saying a mouthful. I’m not even going to download it for maybe another two releases. To be honest, “beta” is being generous.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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As usual the “level” of correction is in the hands of the user.
There are differences in the UI, the way the edit and delivery pages function, the number and type of codecs recognized, the way the tracking and power windows work…
The core grade functions are more or less the same within the framework of overall color management in ACES, RCM, linear, log… with small technical refinements in how secondaries are defined, and so on. Its an evolution. Because the license is permanent, there is no reason not to dive in with the latest.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Depending on your version of Resolve, many colorists with a Photoshop background find the “Temperature” slider in the Color Page, Color Wheels, “2”” dialog to be helpful. This is essentially a mired shift slider that will try to reposition the kelvin white point of your scene. There is also a tint slider that might help you with the midtones if the flesh value starts popping up with the amount of —>3200K that you are pushing into the mix.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Ricardo Marty] “the hamburger view”
Not really, but a couple of years ago, while at a late dinner post-SuperMeet, I suggested that FCPX had not gone far enough eliminating layers, but they should completely do away with the timeline.
Frankly, the timeline just invites infinite revision, without any real thought or judiciousness in placing an edit. If, in John Huston fashion, you rewound the movie and watched it end-to-end to be able to evaluate a change, we would not have this never-ending never-get-to-the-end so-called process.
If the Media Browser was the storyboard, I proposed, and you just kept re-arranging the hanging film clips and trimmed them accordingly, while the whole movie was available in a Viewer, we would be back to KEM/Steenbeck flatbed editing the way all the deities in heaven intended it to be.
Think about it.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Okay, not just between projects, but between machines.
Stills are one way… exporting a .drp is another — the whole project, which you could open and re-link, then build another timeline, subsequently its ColorTrace when everything is on the same database.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Encore gives you access to more advanced authoring tools, obviously… but I still do actually use Toast Titanium+BluRay for one-action processes. It does do a nice file-to-file validation to check the burn, so yeah, it does have a purpose.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I f you have to do it in Resolve… up to now at least, this would be the conceptual reverse of a smoothing/stabilize function. I don’t know if the Resolve stabilizer will be able to keep up with something as small as the ball as fast as it is travelling, though. Really, it is just about locking onto the ball, using a tracking constraint or setting a manual region or point of interest.
Maybe there are some plug in FX in the bag of tricks — most of those don’t have great access to adjacent frames, which you need to predict the motion.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Josh Williams] “Data levels – video
Colour managment
rec 709 scene
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and
“DNxHD 444”….need to be handled with care. Most 4:4:4 codecs are really there for RGB full-range operations. ProRes444 is also notorious for this kind of reported error because the NLEs do not have a mechanism for detecting the appropriate video level black-white range automatically. When you cite “washed out, too dark”, its a red flag. Gamma issues are usually blamed, but that should really be a thing of the past, when the RGB –Y’CbCr range issue is a much bigger problem. In the end, this is a measurable, quantifiable technical problem and you can approach it simply by running a test with a calibration signal like color bars and a scope. Analogically, you are the pilot on final who thinks you’re coming in a little bit off the glideslope, and I’m the controller who is asking you what your altimeter reads. You have one. Most modern aircraft also have a glideslope indicator, but that’s another thing.
jPo, CSI
“I always pass on free advice — its never of any use to me” Oscar Wilde.